A Quote by Adam Wingard
I like the idea of a character that you wanna like even though you know he's making immoral choices throughout the film.
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I do like the idea of consequence and how our actions play themselves out, but I am completely scared of knowing what the future would be like. I would never go near a fortune teller, even though it's probably not even real. I just don't wanna know.
Extrinsic motivations are like, 'I wanna get rich, I wanna be famous.'... Even missionary ones like, 'I wanna change the world with this idea.'... That's an extrinsic motivation. And when things are hard, you're going to be like, oh why am I doing this?
If I'm gonna play a character in a movie or if I want to be the lead of a film, you wanna carry the guy, you wanna get the girl, you wanna save the day or the world.
I came from a very avant-garde documentary kind of film making world. I like cinema verité, documentaries. I liked non-story, non-character tone poems. And that's the film making that I was interested in.
I'm not trying to be self-serving, but you know, you get to Hollywood, and if you want to make something big and loud and dumb, it's pretty easy. It's very hard to go down there and make a film like 'Sideways,' which I thought was a great film. They don't want to make films like that anymore, even though that film was very successful.
I think so much of a director's job is just to convince you that what you're doing is worthwhile. "Yes, this does mean something, we're not just messing around." Even though at the end of the day it's a film. But at the time it's something else. I don't feel like I'm making a film, I'm confronting things in myself. I don't know what it is. So if someone is enthusiastic enough to convince you that it's important it's kind of magical.
I'm always nervous about it. You know, somehow, without even knowing it, I try and recreate the idea of what it feels like to go in front of an audience every night when I'm making a film. And that similar type of pressure and excitement before a scene, or preparing for a movie, so...
I've never done a kissing scene with someone even when you're friends. I mean that sort of even makes it weirder. If you don't know them or like them at all, you can kind of put some weird like ... I don't know. It's the strangest thing. Look at the person next to you and imagine making out with them now, while I film it.
For me, when I'm making a movie I like to stay in character throughout the day.
When you study a character, when you're making a film, you want to understand the character: like, what makes them tick?
And also the idea of not making it apparent that it's different from the rest of the film, even though there are visual differences, the audience is supposed to think that they are with him when he wakes up in the morning.
It's never so that a film is an ensemble or solo. You do it if you like it and if you don't like it, you don't do it. The idea is to play the character in which you are not replaceable.
I find that in preparation for a drama you can do a lot of character work and develop the character and know what you want to achieve and project throughout the course of the film.
I wanna get back To the old days When the phone would ring And I knew it was you I wanna talk back And get yelled at Fight for nothing Like we used to Oh kiss me Like you mean it Like you miss me Cuz I know you do I wanna get back, get back I wanna get back, get back I wanna get back, get back Get Back
The fourth way to get a boy to like you is to be yourself. Now, I am contractually obligated as an adult to give that advice, even though it doesn't work. But yeah, be yourself, even though no one has any idea what it means to be yourself. Like whose self would I otherwise be being?
I'd like to make all different kinds of movies. I don't think it would make sense though for my second film to walk straight into a musical even though I'd like to.
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