A Quote by Adam McKay
For a documentary it's so important to find the characters and to find people who will give you access to film
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Sometimes the characters that I'm most resistant to are the ones that I find the most satisfying to play, because you have to dig deeper and you have to find different parts of yourself that are not necessarily the first thing you access and that's fun and interesting.
The way to "find" the perfect career is to give up the notion that you will ever find it, stumble across it, or that it will somehow magically find you, and to get to work designing it.
If you get the characters right you've done sometimes nearly half the work. I sometimes find I get the characters right then the characters will often help me write the book - not what they look like that's not very important - what people look like is not about their character. You have to describe the shape they leave in the world, how they react to things, what effect they have on people and you do that by telling their story.
You couple that with how I looked when I was younger, and growing up... The voice is not quite breaking. It's awful. No, I don't enjoy that at all. But that's one of the things people love and find so endearing about the Harry Potter series, and why they've lasted so long. Because people have grown up with us, and they care about the characters. They're not just some characters in the film, they're people you can relate to, and you care about, and you grew up with, and when they die in this film, people feel it!
I would make a huge distinction between theater improvisation and film improvisation. There isn't much improvisation in film - there's virtually none. The people that theoretically could be good at this in a theater situation don't necessarily do this in a film in a way that will work, because it's much broader on a stage. But in a movie, it has to be real, and the characters have to look entirely real because it's being done as a faux documentary, so there are even fewer actors that can do that on film.
Film theory has nothing to do with film. Students presumably hope to find out something about film, and all they will find out is an occult and arcane language designed only for the purpose of excluding those who have not mastered it and giving academic rewards to those who have. No one with any literacy, taste or intelligence would want to teach these courses, so the bona fide definition of people teaching them are people who are incapable of teaching anything else.
I just don't feel like I've seen very many movies about 17-year-old girls where the question is not, 'Will she find the right guy' or 'Will he find her?' The question should be, 'Is she going to occupy her personhood?' Because I think we're very unused to seeing female characters, particularly young female characters, as people.
I'm ready for all forms of dialogue about the film The Conquest. There will be a lot of political talk, but I don't think the film itself will be scandalous. For the French, there are so many emotions relating to Sarkozy and politicians in general that I think the film will generate a lot of passion, whether it be negative or positive. Above all, it's a fictional film. It was important not to make a documentary and to really pay attention to the images. From the choice of the actors to the mise en scene, the film is completely cinematographic. It's not just a boring political movie.
I work in the margins. The margins are where you'll find the nice people. You'll find real friends. You'll find honesty. You'll find integrity. You'll find relationships that will last you for a lifetime and will be there to support you in the bad times, which are the only relationships that matter anyway. Relationships that are all about power and money aren't worth having.
If you want to tell the untold stories, if you want to give voice to the voiceless, you've got to find a language. Which goes for film as well as prose, for documentary as well as autobiography. Use the wrong language, and you're dumb and blind.
When discouraged some people will give up, give in or give out far too early. They blame their problems on difficult situations, unreasonable people or their own inabilities. When discouraged other people will push back that first impulse to quit, push down their initial fear, push through feelings of helplessness and push ahead. They're less likely to find something to blame and more likely to find a way through.
My advice to emerging documentary filmmakers would be: try to find other people, a group, a cooperative that you can work with. Filmmaking is hard and lonely and decidedly unglamorous. Find like-minded souls and share the joy and the misery.
He who cannot find time to consult his Bible will one day find he has time to be sick; he who has no time to pray must find time to die; he who can find no time to reflect is most likely to find time to sin; he who cannot find time for repentance will find an eternity in which repentance will be of no avail; he who cannot find time to work for others may find an eternity in which to suffer for himself.
'Masaan' was a small role, but people connected with it. I loved playing a man who does not have many complexities in life. I was inspired by my father for this role. You find such characters in novel or in stories. You don't find such parts in movies where characters are either good, bad, or grey.
I don't find most people to be as politically engaged as I am. I do find people that appreciate eye-opening events and words, and who want to learn more about what's going on. I do find people with a lot of opinions. And I get a lot of people who come up to me and give us props for what we do.
I feel like my story just proves how important not only social media is, but how important it is to be your authentic self. Because when you're really truly your authentic self, the right people will find you. And when they find you, it will be for exactly who you are.
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