A Quote by Jeff Daniels
I know there are people, if I go into a market or a city for the first time, there are people that are there that just want to see the famous person, or the guy from 'Dumb and Dumber' or whatever movie they liked. And that's fine, it gets them in the door, but then it's my job to give them something different.
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My idea of a good picture is one that's in focus and of a famous person. People are only glamorous if you don't see them. Like the movies used to make people years ago. There is something about people on screen that makes them so special; when you see them in person, they are so different and the whole illusion is gone.
It's a fine line to find that balance: to show people enough to give them the promise of something unique, and something they want to see, but at the same time make sure that when they show up for the movie, they're surprised by what they eventually get.
I want to be liked... No, I want to be more than just liked... I want people to say, "that Charlie Brown is a great guy!" And when people are at parties, I want them to look for me, and when I finally arrive, I want them to say, "here comes good ol' Charlie Brown... Now everything will be all right!" I want to be a special person... I want to be needed... It's kind of hard to explain... Do you understand? I mean, do you know what I'm talking about?" "Sure, I understand perfectly..." "Well?" "Forget it! Five cents, please!
If I see a movie for the first time on DVD, I watch it all the way through, the lights are down, I don't pick up the phone. The third or fourth time you see a movie, sometimes you just have them on and you check in every once in a while with things that you liked. I think it's a different expectations from that environment.
You have to give people more than one chance. We hire people in job A, and if it doesn't work out, we try them on job B. We'll generally give them three different tries. You have to be more committed to training, but you know they have the right stuff because someone you think highly of has recommended them.
To me the only real star of the movie is the writer. And I work with writers very closely, from outline to first draft and on to the seventh draft, whatever it takes. Then my job is to support the director to make the best movie we can. Some producers try to go past them, but my job is to support them.
I have no rules. For me, it's a full, full experience to make a movie. It takes a lot of time, and I want there to be a lot of stuff in it. You're looking for every shot in the movie to have resonance and want it to be something you can see a second time, and then I'd like it to be something you can see 10 years later, and it becomes a different movie, because you're a different person. So that means I want it to be deep, not in a pretentious way, but I guess I can say I am pretentious in that I pretend. I have aspirations that the movie should trigger off a lot of complex responses.
I was surrounded by talented people. I always remember Mrs. Carmel Snow, saying to me, "You know, Polly, if one person thinks they're a big star, then we're all stars. You just go out there and always do your best. And always have time to see any designer - no matter how big or how small, have time to see them. You don't have to just see the big shots. You never know what's coming around the corner and the talent that is going to be important. That is your job."
I'm on so late I'm definitely the last seconds of anyone's attention. So I just want to give them something dumb to laugh at, so they go, 'That's funny,' then fall asleep.
Your job, your invitation from the Universe, is to give people back to themselves. You can do this every day, in a hundred ways. All you have to do is look for the best in that person, and then show it to them, right then and there. Describe it. Admire it. Thank them for it. Why not practice it with the first three people you encounter after reading this?
I remember the first time going to St. Jude. I didn't like going there because the children were ill, and it just broke my heart. It makes you test your religion when you see something like that. But the Lord doesn't want just old people. You know, He wants some young people, too, and good people. He takes care of them. He takes care of them.
You want to hire great people and give them the opportunity to fail. You need to let them figure things out as they go along. If they fail repeatedly, then you probably have to find a different person, but if you don't let people have that opportunity to fail, they don't get to learn and grow and try things.
It can be 10 people or thousands of people: I want them to see something special. I want them to say, 'I saw the best in the world at something,' and maybe that will inspire them to go do something in their life with the same vigor.
If you had women running the weed market, I think there'd be lots of different products. I know periods. I know how horrible they are, and I know enough people who suffer from them that I really want to speak to them so they can carry something in their pocketbook for relief. Or come home, get in a tub, and soak with something that will actually work.
Sometime I'm going to do an essay called 'The Virtues of Amateurism' for all of those people who wish they earned their living in the arts. The market kills more artistic people than anything else. It's a world of safety out there, for most people. They want safety, the magazines and manufacturers give them safety, give them homogeneity, give them the familiar and comfortable, don't challenge them.
I want to motivate people because I know how it is, struggling, and coming from a place where you have nothing. So my thing is to motivate people to let them know whatever you put your mind to, or whatever you love to do, then stick with it and don't give up.
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