Music and film are parallel ex...
Music and film are parallel experiences: they are linear, they are narrative.
Music and film are parallel experiences: they are linear, they are narrative.
People define gay cinema solely by content: if there are gay characters in it, it’s a gay film. . . . I think that’s really simplistic. Heterosexuality to me is a structure as much as it is a content. It is an imposed structure that goes along with the patriarchal, dominant structure that constrains and defines society. If homosexuality is the opposite or counter-sexual activity to that, then what kind of a structure would it be?
Feminist theory has left an indelible mark on my own critical—and creative—thinking . . . For me, everything I questioned about what it meant to be a man – and how much my sexuality would perpetually challenge those meanings—could be found in arguments posed by feminists. What can I say? I identified.
Pop music can get inside us and enter our memory bubbles. It provides those true Proustian moments, unlocking sensations, unlocking our imaginations. Music inspired me as a filmmaker.
I liked to act in plays when I was a kid, and then in college. But that's the last time I really acted. I always loved it. But my interests were more in looking at the whole, rather than getting completely swallowed up in a single part of the whole.
You always feel like rock critics are frustrated musicians. I envy musicians their ability to live their art and share it with an audience, in the moment.
I think by around the time I was about 8 or 9, the idea of filmmaking probably took hold. I made little Super 8 extravaganzas when I was a kid, the first being my own version of 'Romeo and Juliet,' and where I played all the parts except for Juliet.
I'm a great admirer, fan and consumer of television. I love serial drama. I have been a major fan of HBO's series for many years.
You want everything for your kids that you didn't have, but that that very desire can pollute and corrupt the good, basic American pluckiness, resourcefulness and down-to-earthness that we like to pride ourselves with, and result in aspirations of wealth and high culture.
I was 3 years old and Mary Poppins [1964] made an impression on me that was seismic, apparently. I fell into some kind of total creative, imaginative rapture over that movie that propelled this industry of Mary Poppins drawings, plays, performances - just an obsessive, creative reaction to it.
As an independent filmmaker, to develop the money and the financing and the structure and the whole process, and then promoting them and traveling with them, which is a part of the process that I've always enjoyed and I've learned a great deal from.
I always loved theater and acting in plays and directing, writing little plays and directing friends in plays.
I was about 6 or 7, I would have said I wanted to be an actor and an artist. And that just kind of kept honing itself around film and getting closer to film.
There is no single approach that actors take to their craft. And the best thing you learn is that you have to really listen and respect each actor's own process and own method, and that takes a kind of delicate, non-imposing patience and openness, I think, to get the very best out of the people you work with.
I'm drawn to female characters, not all of them are strong characters. I think I'm drawn to female characters partly because they don't have as easy or as obvious a relationship to power in society, and so they suffer under social constraints or have to maneuver within them in ways men sometimes don't, or are unconscious about, or have certain liberties that are invisible to them.
I figured I would be teaching my whole life and making experimental films on the side.
In male-driven [films], the protagonist is not the person who's necessarily in harms way. There's a sense that they're going to figure out how to persevere and take on the obstacles and foes and you don't necessarily know if that's going to happen with the subjects of love stories.
Nostalgia could be considered a disease because you're living now.
When Cate Blanchett starts directing, it's over for all of us.
I sort of have a dog-minded single strategy but I am a little more open to stuff that's out there, now and looking at scripts in the world and seeing if something that already exists can spark my interest and my curiosity.
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