A Quote by Alejandro Gonzalez Inarritu
The emotions of the actors are better when they understand the chronological factors that are adding to the story.
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'Mom' is an emotional family drama that's also thrilling. It's the story about a mother and a daughter, their emotions, and how their lives change. Being a mother myself helped me understand those emotions better.
Understand that all emotions serve you. Those you once thought of as negative emotions are merely calls to action. For example, if you feel frustrated it means that you believe things could be better, and they're not. This is a call to action telling you there's something you must do to make this better now. This "negative" emotion is actually a gift if you use it effectively.
Some actors like encouragement. Some actors prefer to have pressure. And sometimes, for some actors, its better to give your comment by silence, because they are so skillful, so gifted, that they understand without talking too much.
I think repetition is the hardest thing to avoid with sequels, because you've told a story and now you're adding more story to the story.
Creators, makers of the new, can never become obsolete, for in the arts there is no correct answer. The story of discoverers could be told in simple chronological order, since the latest science replaces what went before. But the arts are another story- a story of infinite addition. We must find order in the random flexings of the imagination.
I think, even a lot of people that make movies forget is that, in my mind, a movie should work with the sound off. You should be able to watch a movie without the sound and understand what's going on. That's your job, to build a series of chronological images that tell the story.
I find that albums generally tell a story. Because it's music, it doesn't have to be in chronological order.
Actors incorporate certain emotions from our own lives in order to create characters, and emotions come from experience.
Perhaps adding a line or two of dialogue to try to better capture an emotion. But I've found that if the story isn't there in the beginning, right from the start, I generally can't beat it into shape no matter how much rewriting I do.
I don't really understand why we are paid less than the male actors, because we put equal efforts, and recent past has shown that actresses can deliver a hit film. We deserve better pay, equal to what actors get.
Usually I like to make my movies from start to finish in chronological order. As a filmmaker it lets me be able to direct my actors and tell them where exactly they are and go with progression.
You know, there's chronological age, there's biological age, and there's psychological age. Chronological age, there's nothing you can do about, which is I'm 52. You set that number aside.
When I audition, I understand what it takes and the insecurities that come with it. If I do anything, I put actors at ease. I used to tell directors who weren't actors, the best thing they could do was take an acting class for a couple of months. Just to understand.
If you're gonna let the character be the story, you better set a tone that allows the actors to do the best work they can do.
Coming from documentaries, my biggest challenge was to understand actors' psychologies. American actors take it all very seriously; British actors don't enter into all this methody way of doing things.
The structural notions to me always have to be worked out very carefully in the script stage. Whatever a particular structure is. Whether it's chronological or non-chronological. To me that's always about what point of view are we trying to address in the film?
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