A Quote by Andrew Stanton
I think you could go back to any filmmaker or musician or artist, and look at what their input was in their formative years, and you could trace all the lines.
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As a filmmaker, like any artist, when something affects me emotionally I think about it in those terms. It's my way of dealing with my thoughts, my fears and my hardships. I think the same can be said with any artist. For a musician, you're going to write a song about something that affects you emotionally.
As a filmmaker‚ like any artist‚ when something affects me emotionally I think about it in those terms. It's my way of dealing with my thoughts‚ my fears and my hardships. I think the same can be said with any artist. For a musician‚ you're going to write a song about something that affects you emotionally.
It's one of those things, when you look back on it, you'd go, "Oh, I could've done without that. If I could go back in time, I would do it different." That's the thing with violence in general.
When I look back I can think that of course I've been lazy and haven't practiced as much as I could have and have wasted time. Still though, I look back on my life and I think that really, I am very happy that I lived my life the way I have and I would never ever have wished it any other way - especially, the six years with my lama and then the 18 in Lahul.
All you can do as an artist is do what you think is an extension of you. You put down on paper ... who you are. That's what being an artist is all about. And when it gets done, you don't look back at it and say, Oh, I could have done that better.
There are instances where lines in my work are borrowed or stolen from sources, mainly from books, or they become my own versions. A lot of the writing is my own, too. But if someone were to take each drawing and trace it back to its source, most of them could be traced back to a book or a text.
If we could begin to look at water pollution as a human rights violation, and we could begin to look at criminal aspects of this, I think that could be a game changer for many companies who want to not be forthwith and think that they can just hold off in a lawsuit for 10 years, and in the meantime, people are still being poisoned.
When we finally had a cast and could see what they could do, here was an opportunity to go back and modify things. We didn't actually do that much modifying, but we did enough to make it feel as if they fit in their own skin, and we got a lot of good input from them. They're a terrific cast. They worked really hard.
I left film because I felt that photography was my art. It was something I could do on my own, whereas film was so collaborative. I thought as a photographer I could make something that was artistic and that was mine, and I liked that. And it wasn't until I got back into film and I have very small crews and I could do very tiny filmmaking that wasn't 100 people that I still felt that I was making something artistic as a filmmaker. So, you know, I'm an artist, and whether it's photography or film, I want my voice to be there and I think my voice is very strong in this film.
I loved the work. I missed it for years after I was arrested. I couldn't drive past 100 Centre New York City Criminal Court, that whole area, without crying, seeing people going to court and knowing I couldn't do that anymore. I still do miss it. I don't think I could ever go back. Maybe I could consider second-seating my son or someone else whose work I respect. But I could not take on any responsibility. I'm out of step; I haven't kept up.
You could spend the rest of your life trying to outlive the scars that are left by what you go through in your formative years.
Collaborations work when both or however many parties are the right people to be working together for whatever reason - whether it's two musicians or a musician and a filmmaker or a musician and a choreographer, if the combination is right, the possibility exists to make something greater than the individuals could make. But if the combination is wrong than you generally end up with a compromised piece is probably less than the individuals could make.
Those of us who work in the arts know that depiction is not endorsement. If it was, no artist would be able to paint inhumane practices, no author could write about them, and no filmmaker could delve into the thorny subjects of our time.
I never want to look back on any moment and say I could have done more. So I go all in.
You could go to New York City, you could go to LA, you could go to the highest class studios in the world, they'll have all the bells and whistles, but it's not going to make your record any better.
Sometimes, I think I could have been a major movie star with the vast mansion and staff. I look at my Volvo and think it could be a limousine. I think of the roles I turned down. But then I wouldn't have had any children.
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