“I love how ‘melodrama’ is a denigrated term – a lower-class citizen to other genres. And yet that’s what life is, man.”
“It’s very funny because every time I make a movie, and I’ve heard this re-echoed by other filmmakers and actors I have worked with, you kind of feel like you’re naked again. You have to figure it all out from scratch, as if you had never done it before.”
“I had really loving parents and a happy childhood.”
“Films like ‘Velvet Goldmine’ are an accumulation of research and references. I create an almost random resource of connections and am constantly distilling that into narrative specifics.”
“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.”
“When you’re shooting concert scenes in films, we try to bring in, where appropriate, as much of a sense of live performance as possible.”
“It took an entire generation of critical thinking for Douglas Sirk’s films to be really appreciated.”
“You can be a smarty-pants director, but that won’t matter if the movie doesn’t work emotionally as well as intellectually.”
“Making a film is so scary, and there’s such a kind of void that you’re working from initially. I mean, you can have all the ideas and be as prepared as possible, but you’re also still bringing people together and saying, ‘Trust me,’ even when you don’t necessarily trust every element.”
“I think when I was about 6 or 7, I would have said I wanted to be an actor and an artist.”
“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 drawn to female characters; not all of them are strong characters.”
“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.”
“I think all my films can be enjoyed. In fact, they’ve often surprised me with how they’re received.”
“Like the music and the period, I wanted ‘I’m Not There’ to be fun and full of emotions, desires and experiments that were thrilling and dangerous.”
“It’s absurd: half the movie audience are women, but Hollywood bosses are still aiming for men who are 20.”
“I worked with Jim James on my film ‘I’m Not There’ – he sang ‘Goin’ to Acapulco’ with Calexico backing him up. We just hit it off, and it’s such a beautiful moment in that film.”
“The way I sort of approach my work is that the historical and socioeconomic and cultural worlds that the music is exploring dictate the visual experience and the way that we approach it specifically on film.”
“’Evil Urges’ has some stuff in it that’s unbelievable.”
“’Carol’ takes place at a time the country was crawling out of the shadows of the war years, feeling the new vulnerabilities of the Cold War and conflicts within the union.”
“You’ll see in ‘Carol’ a lot of shots shot through windows, glass and awnings, with interruptions between where we are and where our object is. To me, I hope that that conjures the whole act of looking as a predicament, as something that is never easy and never completely attainable.”
“We yearn for the desire to triumph, and it almost never does in the greatest love stories because we’re left yearning for it more in the end, and we wish the world were different as a result. I do love that.”
“I live in Portland. I’m a man of the world, and I live in Portland.”
“’Mildred’ was the first film I shot on Super 16 with Ed Lachman, and we decided to continue doing so for ‘Carol.’”
“I don’t think there’s any more synesthetic medium than film.”
“I’m pretty single-minded, unlike a lot of directors who miraculously seem to be holding six projects in their hand at a given time and juggling them accordingly.”
“I always learn a lot when I do so. You know, when you step out of your comfort zone and even your cynical zone, and open yourself up to what other people might experience and why they do so.”
“They always find new ways of talking about my movies.”
“When ‘Safe’ came out, it was treated respectfully but kind of forgotten. Then, by the end of the ’90s, it somehow made it onto all these best-of-the-decade lists.”
“I’ve been really lucky with critical reaction, overall, even if my films don’t often resemble each other.”
“I’m always interested in what classic crime writers got into when they stepped away from the genre stuff they were known for. That’s why ‘Mildred Pierce’ is like noir without any real crime.”
“All actors are protecting something, in their own way, that happens in front of a camera.”
“Every actor prepares differently and to different degrees of privacy. Some want to talk everything out. Others really don’t want to talk anything out – or rehearse much.”
“The bond company comes in if you exceed your costs; they’re the insurers of the film. In the worst-case scenario, they take over the production.”
“Looking at photographs of New York in 1952, you find a powerfully pre-Eisenhower era – sagging, tired, distressed – and the palette is slightly dissonant.”
“The best love stories on film are rooted in the point of view of the more woundable, vulnerable party, the more amorous party.”
“I don’t know if I ever entertained an academic career, nor did I ever think I’d become a feature film-maker in the market.”
“I saw experimental film-makers teaching in college. They did what they wanted and didn’t worry about the market, but the circumstances ended up offering me other possibilities.”
“When you premiere somewhere like Cannes, it’s huge. It’s nerve-wracking.”
“I think it remains a film-by-film process, and since I am relatively selective and slow, it can take a while.”
“Melodrama is sometimes broadly applied and sometimes derogatorily applied.”
“There’s this homogenization, this big sucking motion in dominant society, to absorb all the disparate elements that define the margin or define the culture or define those who are thrust outside the status quo.”
“I have a hard time making movies that affirm life and say life is a good and happy place. That’s not true about the world.”
“I don’t want to make people feel better.”
“My parents are very supportive and proud.”
“Films like ‘The Godfather,’ ‘The Exorcist,’ ‘Klute,’ ‘Chinatown,’ ‘Network,’ and ‘The Parallax View’: They were drawn from the genre tradition, but they dressed down the stylistic telling of those traditions and genres.”
“Love stories require an obstacle between the lovers, something that keeps them from one another. You have to yearn for the love that can’t be fulfilled. And it gets harder to conceive of viable cultural or racial or sexual obstacles between people as we move forward progressively.”
“I felt ‘Brokeback Mountain’ re-imbued the love story with an authentic and unquestionable series of obstacles that these men faced. I think that’s certainly true for ‘Carol’ as well.”
“I remember going to see ‘2001’ with my dad.”
“At the time I made ‘Safe,’ I was really intrigued by the whole culture around AIDS, which was turning to people like Louise Hay and these other West Coast New Age thinkers.”
“Each production is its own experience.”
“’Carol’ takes place in the really early ’50s, before Eisenhower has taken office. It’s based on a Patricia Highsmith novel, her second and most autobiographical book and the only one outside of the crime milieu.”
“The film division at Amazon is made up of true cineastes who love movies and really want to try and provide opportunity for independent film visions to find their footing in a vastly shifting market. They love cinema.”
“Serious films for grown-ups – ‘Michael Clayton,’ ‘In the Valley of Elah,’ ‘A Mighty Heart’ – these are big Hollywood films, but they have substance and craft and really beautiful performances.”
“Aspects of guilt or handwringing that one might expect in a film set in the ’50s about women who discover their love for other women – a lot of these things are not in ‘Carol.’”
“Sirkian films really aren’t – at least the way I see them, they’re not about identification. They don’t have voiceover. A lot of the love stories that are rooted, classic love stories rooted in point of view, use voiceover as a mechanism for locating you there.”
“When you think of the later ’50s and ‘Far From Heaven’ and Eisenhower and Sirk, you think of that Hollywood panache and gloss to American middle-class life.”
“’Carol’ is so distorted by point-of-view.”
“There were interesting ways that queerness could hide out and get played out pre-Stonewall. It is part of a vast history that is getting forgotten quickly as we trumpet forward into gay marriage and gays in the military and a much different cultural attitude toward gay lives.”
“Cannes is a lot of work, since it’s a market festival and a serious festival, and they really work you, understandably.”
“I’m used to always having struggles getting finances together and keeping precarious budgets alive in the independent film world.”
“There’s no better place to do a longform project than HBO. I loved the creative teams I got a chance to work with.”
“The highest-caliber dramatic work produced for TV – not just in cable but something like ‘The Good Wife’ at network – is consistently great.”
“At HBO, you’ve just basically got a studio full of artistically driven smart guys and women who really care about the quality first and foremost.”
“I have always had an interest in performers who play against the most obvious of expectations and are able to find something secret, something withheld, and some level of restraint.”
“I do think that, yes, one should always be receptive to the fact that there are many different types of audiences, and they are not necessarily in a clean, reductive demographic like they once were.”
“I do know my own films don’t necessarily work within that high-pressure reductive moment of the opening weekend – or all the ways that many people assess the value of movies.”
“I started ‘Carol’ as I almost always do, by looking at films from the time, and they were less – they actually felt less relevant to me in terms of their bigness, although we do have some big ’50s-type moments in ‘Carol.’”
“I’ve always been interested in visual art and used to be much more into theater when I was younger, or more knowledgeable about what’s going on. And literature has played a big part in my life.”
“My very first movie, ‘Mary Poppins,’ which I talk about, it just turned me into an obsessive, creative creature who had to sort of reply to the experience by drawing things, making things. It was like it forced – it made me into this obsessive, creative creature… I don’t know any other way of putting it.”
“I noticed that there were all these kinds of practices in a working set that had to be un-practiced on ‘Far from Heaven,’ which was so interesting.”
“With ‘Carol,’ I was just really looking at and thinking about the love story as a genre, not the domestic melodrama.”
“It’s funny: I don’t feel like I have any particular privileged feeling for the Fifties.”
“By the time I finished ‘Poison,’ the New Queer Cinema was branded, and I was associated with this. In many ways, it formed me as a filmmaker, like as a feature filmmaker I never set out to be.”
“I figured I would be teaching my whole life and making experimental films on the side.”
“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 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.”
“My films have often looked at the whole dilemma of identity as a straitjacket for people, for societies, for cultures, for historical moments.”
“In high school – that’s when I first fell in love with his music and his voice. ‘Blonde on Blonde’ above everything. I vaguely remember ‘Desire’ coming out. I definitely remember ‘Street Legal’ and ‘Slow Train Coming.’ The first time I saw Dylan was on that tour: ’79 in L.A.”
“The first time I saw Douglas Sirk was in college. I didn’t encounter him on the late, late, late show like a lot of people; people a little older than me, maybe. But I saw him already as someone to take special note of in an academic context in college. I was immediately in a state of visual splendor.”
“Films like ‘The Godfather,’ ‘Chinatown’ and ‘The Exorcist’ brought a realism and currency and understatement to their genres that we wanted for ‘Mildred Pierce.’”
“Some directors do recut their films, but I don’t if I disagree, and what you suffer is a less passionate marketing campaign, less investment in the film at the other end, which is… fine. I get it.”
“A key part of the process for me is having screenings: not official test screenings, just gatherings of people, some I know and some I don’t. We ask what is working and what isn’t. So it’s not as if I’m shutting out input.”
“You have to be somewhat ruthless with your work. You have to let things go. Even your favourite little part might not work in the end.”
“After ‘Superstar,’ I was encouraged. I felt audiences wanted to be challenged.”
“I like to rehearse before blocking.”
“My problem on ‘Safe’ was that when I liked something, I would giggle.”
“I love visual mediums, and I’ve always painted and drawn.”
“I’ll never forget watching ‘I’m Not There’ with Cate Blanchett, because it was the first time she saw the finished film and saw her performance in it. I was sitting next to her experiencing it vicariously through her fresh eyes and hoping she liked it.”
“The term ‘new queer cinema’ and the films of mine that were associated with that term are from a very, very different time, one almost entirely defined by the AIDS era. It was a very different social and cultural regard for the lives, the experiences, the worth of gay people.”
“I value what I learned from being cast in the margins and what that felt like.”
“There are all these languages that keep people in place that conform us to a set of terms. It’s why I think the whole idea of identity as something that is something of a straitjacket. That most of us like to think of as natural and innate. That we just find and go, ‘Yeah, that’s who I am.’”
“I love stories of love cropping up unexpectedly in life almost as a problem, as something you don’t ask for. Something that messes everything up and makes you rethink everything.”
“A lot of actors just don’t seem grown up no matter how old they get… just juveniles with grey hair.”
“Without sounding sexist, you have to cast a real man opposite Cate Blanchett. You need a guy who’s grown up.”
“Making a movie about the love between two women was really a tribute to the lesbian people in my life, my dear friends who are seminal in my life.”
“I find movies rely upon dialogue too much sometimes, and you lose the power of what really the most basic cinematic language is, which is the visual language.”
“I felt I would have the most creative freedom making experimental films and teaching, as I had many good examples of people around me who did just that.”
“I didn’t quite realise until we started to put together our first cut of ‘Wonderstruck’ how much time is spent with no words spoken whatsoever.”
“I see things about the present more clearly when I’m looking through the frame of the past: I think it’s very hard to assess the present moment that we are in.”
“I think many of the ideas that opened up in the ’60s got implemented in the ’70s and that certain minority voices that were not being heard in the ’60s, like women and gay people, were being heard in the ’70s. Black Civil Rights had also found its foothold, and those ideas were also very pertinent.”
“What was so interesting about the glam era was that it was about bisexuality and breaking down the boundaries between gays and straights, breaking down the boundaries between masculinity and femininity with this androgyny thing.”
“I think camp is a really fascinating thing, and it’s hard to define and hard to apply consciously. It’s almost something you take from material that’s already existed in the world, a reading of the world. But I think it speaks of a long tradition of gay reading of the world, before gays were allowed to be visible.”
“In a way, I think Roxy Music is high camp, in a brilliant way.”
“With ‘Poison,’ I’m sure some people just hated the movie, but it also got caught up into a debate about arts funding because it was a film that received a National Endowment for the Arts Public Grant, and it won the prize at the Sundance Film Festival.”
“I was lucky enough to be exposed to film, art, literature, culture, and then told, ‘Yes, you can do that, too.’ It’s not something that everybody’s circumstances allow for.”
“I came out of a sort of experimental background, and I didn’t ever really expect – or even desire – a career as a feature filmmaker.”
“I’m a lover of cinema, and I don’t want that to completely expire.”
“Every actor comes with their own experience, method, methodology.”
“I love serial drama.”
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