A Quote by Carol Guzy
Everybody hates to edit my film. Back in the day, we called it film - now, my digital cards. But I shoot an awful lot of pictures. I don't want to hesitate, because I believe the moment is everything in a picture. So, I take the pictures.
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The problem when you edit a film together, when you shoot a film, you are drawn into the moment. You want each moment to be special and full of life.
I guess my first digital movie was 'Tintin' because 'Tintin' has no film step. There is no intermediate film step. It's 100% digital animation, but as far as a live-action film, I'm still planning to shoot everything on film.
Because even very young people are expert readers of pictures, you can convey very complex and subtle messages through pictures that you'd need loads of words to explain. Making a picture book is also a bit like making your own film - and you can make anything you want happen, however impossible!
We take pictures because we can't accept that everything passes, we can't accept that the repetition of a moment is an impossibility. We wage a monotonous war against our own impending deaths, against time that turns children into that other, lesser species: adults. We take pictures because we know we will forget. We will forget the week, the day, the hour. We will forget when we were happiest. We take pictures out of pride, a desire to have the best of ourselve preserved. We fear that we will die and others will not know we lived.
I want to make books. I want to take pictures and then write all over the pictures. And then I don't have to say a complete story, because I have the picture, and I have just a word.
With all the hype that computer graphics has been getting, everybody thinks there's nothing better than CGI, but I do get a lot of fan mail saying they prefer our films to anything with CGI in it. I'm grateful for that, and we made them on tight budgets, so they were considered B-pictures because of that. And, now here we are, and they've outlasted many so-called A-pictures.
The text illustrates the pictures - it provides a connective tissue for me. I usually refine the text last, partly because pictures are harder to do, so it's easier to edit words - I use text as grout in between the tiles of the pictures.
We had all these smiley family pictures all over the walls of my house, but I always found those pictures to be odd because we weren't smiling all the time. I don't want to paint the picture of a total dysfunctional house, but there were a lot of arguments in that house. A lot of pain.
Light inspires me. I'm drawn to architecture, often graves, statues, trees - things usually that are quite still. I've been taking pictures continuously since 1995 until the end of Polaroid film. I'm taking very few pictures nowadays because I have very little film left, most of it expired.
Nowadays, when you make movies, you don’t need any lights at all. You have to remember, back in the day, the film stocks that they had were very, very insensitive and they would have these humongous lights and lighting was everything, so everyone looked good. Nowadays with digital film where you don’t need any light at all, you could shoot in the [bleep] dark. It makes people not look so good and it makes aging on film much, much harder.
In terms of digital photography, I continue to print and use film for the most part. I still shoot with film, 21/4 film specifically, and I love it. I love it because I know what it does, how it really responds to light.
I never know if my picture is a good picture or a bad picture, because I'm not making pictures thinking of the public, I'm making pictures to realize myself.
But actually making pictures to look like my pictures, I've done it for so long, I'm kind of used to it now. So at the beginning of the process, designing and storyboarding everything, I sort of did all that. And then designed the characters, and doing the textures for the characters, and the texture maps to cover all the animated characters and the sets, I did those, because that's where my sort of coloring and textures get imprinted on the film.
To an ever greater extent out experience is governed by pictures, pictures in newspapers and magazines, on television and in the cinema. Next to these pictures firsthand experience begins to retreat, to seem more and more trivial. While it once seemed that pictures had the function of interpreting reality, it now seems they have usurped it. It therefore becomes imperative to understand the picture itself, not in order to uncover a lost reality, but to determine how a picture becomes a signifying structure of its own accord.
Various studios are still shooting on film with digital grain and the DI negatives, it's not ideal. We should really be all film or all digital. But that being said, the old way of graining in the camera, now you can make changes like a painter. It's dangerous because you can ruin the film, you can over-fiddle. We've all seen films and gone 'what the hell is that?'
I won't do advertising if they bring a layout and say, 'This is what we want to do,' because anybody can do that; it's not interesting. They've got digital and the computer; it's not taking pictures, it's not magic - it's a picture done by committee.
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