A Quote by Walter Becker
In the '70s, my playing was completely untutored, but it sounded good to me, and I tried to find ways to make those very simple things work in more ambitious contexts.
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It's not fair to look at me and my husband as a couple when it comes to work. In the lab we are colleagues. We have the same vision and we both are very ambitious. I think ambitious people find ambitious people to play with.
When I did the first edit of Les plages, it was very dry and very square in a way. I was just saying the minimum. I said, Well, if this is the minimum, I don't make it. So I tried to make it more refined. I tried to find images, allegorical images, that I could use to express things that I didn't want to say or didn't want to show or I was not able to find how to show.
I tried working with the best of directors and producers. I tried being selective, but things didn't work out. Now, I am open to working with anybody and everybody who is good. Or I'll try to make it good. That suits me.
I think I can do whatever I want with fiction, but the more documentary it is, the better it will be because that's what I'm good at. I'm good at observing people's behavior and putting these unspoken things into movie contexts in ways that other people can sometimes miss.
I think there's something in common with the OSS 117 movies. The big difference is there's no irony in this one. It's not parody. I tried to make it very simple. It's a simple story, but to be simple, it's very complex in the way it's done.
I've just always loved really good projects. The things that draw me into a new project have very little to do with genre and have more to do with the characters I'll be playing, the people I'll get to work with and things like that.
Most of us lead far more meaningful lives than we know. Often finding meaning is not about doing things differently; it is about seeing familiar things in new ways. When we find new eyes, the unsuspected blessing in work we have done for many years may take us completely by surprise. We can see life in many ways: with the eye, with the mind, with the intuition. But perhaps it is only those who speak the language of meaning, who have remembered how to see with the heart, that life is ever deeply known or served.
When I think about the new film, I think I can do whatever I want with fiction, but the more documentary it is, the better it will be because that's what I'm good at. I'm good at observing people's behavior and putting these unspoken things into movie contexts in ways that other people can sometimes miss.
Novels and stories are sometimes very complex staging grounds to say, in fact, very simple things. Things impossible to say otherwise because they are repeated in so many exploitative contexts - adverts and TV shows and political speeches.
In a lot of ways, if I were ambitious about anything - besides my career - I'd be ambitious about love. Ambitious in the sense that I really hope to find true love.
People often ask me why my style is so simple. It is, in fact, deceptively simple, for no two sentences are alike. It is clarity that I am striving to attain, not simplicity. Of course, some people want literature to be difficult and there are writers who like to make their readers toil and sweat. They hope to be taken more seriously that way. I have always tried to achieve a prose that is easy and conversational. And those who think this is simple should try it for themselves.
Beauty means a lot of different things to a lot of different people. A lot of different ways in which things can be beautiful. But this really has a very specific meaning and which is more along the lines of elegance which is that we say an idea is beautiful or elegant in mathematics or physics if a very simple principle or a very simple idea, or simple set of ideas, turns out to be very powerful and leads to all sort of unexpected structure and unexpected predictions.
In England, those qualities of playing it simple, being in the right position, reading the game, knowing the right moment to make things happen around you are not appreciated. Making a tackle, a run into the box - the spectacular things are more appreciated.
The more powerful you become, the more others will find ways to master you. They'll do it through those you love and those you hate. They will find the bit and the bridle that fits your mouth and will make you yield.
In some ways it's taken me decades to come clean and make honest work - and still to this day, sometimes I find myself wanting to hide behind my work and deny the more biographical aspects.
There seems to be something poetically that doesn't work or is limiting when you call God 'God' in a poem. When I tried to be honest with myself in my relationship with God, Christ is, on the one hand, completely dark, he's transcendent and unknown. On the other hand, he is completely imminent and completely knowable as Jesus. Our tradition speaks of him in both ways as transcendent but also as a lover who comes to us, and the two word 'Dark One' seem to me to contain both things, the transcendence and otherness of Christ, but also like a kind of dark lover who comes to us.
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