A Quote by Jean-Pierre Jeunet
Each time, I try to find a family of interesting faces. I follow the tradition of films from the 40s - at this time, there were so many interesting faces in France. I often work with the same because there are not thousands and thousands in France. I'm looking for interesting faces and characters actors, and it's not for everybody.
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You see a lot of interesting visual irony on movie sets all the time, you know duality, set illusions, the reality, all that stuff. You play with interesting materials that you couldn't afford to otherwise. You meet interesting people that you work with, have special machinists or mold makers and make-up people, and people who make prosthetic appliances for actress' faces. It's really interesting kind of witch's brew of people in that business, aside from the sleeze bags you hear about on the financial end.
I don't find anything interesting about the choices a character faces in major films or theater projects. The characters are just cut-out dolls with the American flag sewn on them.
Very often the people who are shooting your film do not look like you if your film is brown-centric in some way. What is very interesting is to be going through these scenarios and turning around and looking at so many faces that are not yours. Even though those faces are looking at you in love, it puts you in a space when you are on a plantation in that condition. I think that it allows you to see further into possibly what that place really was for someone else, except thank God we're with people who love and respect us.
At the beginning, we didn't have the money to pay big names, which is how looking for new faces began a tradition that still continues 30 years into the Guess history. It's been interesting to follow their careers after a Guess shoot, for both photographers and models, because the exposure around the world becomes so huge.
I cannot stress enough that the answer to life's questions is often in people's faces. Try putting your iPhones down once in a while, and look in people's faces. People's faces will tell you amazing things. Like if they are angry, or nauseous or asleep.
The first time people come to see me, it's usually because they're curious. Then maybe some of them return. I look out in the audience and see the same faces, the same wonderful, loyal faces.
When you look into the faces of these quiet creatures who don't know how to tell stories--who are mute, who can't make themselves heard, who fade into the woodwork, who only think of the perfect answer after the fact, after they're back at home, who can never think of a story that anyone else will find interesting--is there not more depth and more meaning in them? You can see every letter of every untold story swimming on their faces, and all the signs of silence, dejection, and even defeat. You can even imagine your own face in those faces, can't you?
It's not the number of trucks parked outside that make a movie interesting but if you have more money, you have more time. More time enables you to try out other possibilities or follow an interesting lead. I don't like indulgence, but to have more possibilities is always more interesting.
I did work more realistically: I used real anatomy, faces with expressions - not Dick Tracy with his one slip of the mouth and that's it, but actual expressions on the faces that made the characters look like they were saying what was in the balloons.
Faces are the most interesting things we see
As the Wheel of Time turns, places wear many names. Men wear many names, many faces. Different faces, but always the same man. Yet no one knows the Great Pattern the Wheel weaves, or even the Pattern of an Age. We can only watch, and study, and hope.
Faces are the most interesting things we see; other people fascinate me, and the most interesting aspect of other people - the point where we go inside them - is the face. It tells all.
I think about a Richard Avedon photo series, the kind of faces he gets of real people, which I find so captivating. Fellini was also great in filling his films with this ambiance, this environment, sometimes chaotic and carnival-like, but people's faces were always amazing.
It's more interesting to see new people on the screen when you go to the cinema. I don't want to see the same old faces.
Just as a human soul that faces great difficulties also faces great opportunities for spiritual growth, so a human society that faces destruction also faces the opportunity to enter a period of renaissance. I think that, barring an accident, the wish to survive will keep us from a nuclear war.
It has to be said that the bad guys are often more interesting than the good guys because you get to indulge part of your nature that hopefully gets subsumed most of the time. But I just like playing interesting characters, and variety's the spice of that, as it is with life, I suppose.
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