A Quote by Ariel Pink
There's no relationship to the narrative anymore. People want their own interpretation of history. We're compartmentalizing, forgetting what came directly before, like it's not a big deal. That, to me, is a crime.
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Once I got interested in organized crime, and, specifically, Jewish organized crime, I got very interested in it. I have learned that, like my narrator Hannah, I'm a crime writer in my own peculiar way. Crime with a capital "C" is the subject that I'm stuck with - even Sway is about "crime" in a certain way. The nice thing about crime is that it enables you to deal with some big questioO
Like most filmmakers and writers, there are roots in my own life, but they are stories that I invent. There was a period of time in my life when I made directly autobiographical films where I truly told what happened to me. But, now, I don't make directly autobiographical films anymore. I am more for renouncing that and being in front of history. The large part of my work tells about something I know. It's close.
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I'm obsessed with this idea of storytellers and people who have a narrative, and sometimes sustain a relationship because they're telling a narrative and someone is listening to that. Often the nature of the relationship is determined by how well they tell the story, or someone else's ability to suspend disbelief, or infuse into their narrative something which they may not even be aware of.
Here's the deal with 'Bastard.' I loved that show, and for me, it was such a palate cleanser, going from writing urban vernacular and crime to, essentially, iambic pentameter. I loved the mythology of that world based on history, but what it came down to was money.
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Joke stealing is a big deal to me, but I mean, I'm not going to investigate it if it doesn't effect me directly.
I'm very moved by the fact that people are drawn into the pictures and that they do bring their own history and their own interpretation to the photograph. I think that's why they work in a certain way.
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