A Quote by Anne Sewitsky
I don't know if it's a misconception, but I often get asked why I always make stories about family and love. Over the years, I´ve also directed commercials, a children's film, and TV - dramas (both comedic and darker), because I always feel the urge to go in a different direction with my next project.
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I have actually directed over thirty plays and about one hundred commercials for cable TV, but have not yet had the opportunity to direct a feature film.
I simply can't understand the stereotyping women as film makers who make soppy family dramas. Look at Katherine Bigelow: she has directed Point Break and Strange Days. I hate labels of any kind. Just because you are a woman you can't do this or that? Twenty years ago women entering the work force was enough of a shock. People just like the predictable; they feel safe with it. You know, it's such a bore
I think it's not really difficult to write about love. We've been saying the same thing over and over for so many years. But it depends on how honest it is and how good you make it feel. You can say 'I love you' in a trillion ways, and it can always sound different or feel different.
I have a lot of projects I get asked for, but the opera house really is my house - my home. It's where I feel comfortable and confident and I get to explore these big human stories and dramas and collaborate with extraordinary people, great talented artists and administrators and other people who are passionate about it and support it. It's like working with a great big family - the family you love and enjoy being with all the time.
My best film is always my next film. I couldn't make Chungking Express now, because of the way I live and drink I've forgotten how I did it. I don't believe in film school or film theory. Just try and get in there and make the bloody film, do good work and be with people you love.
These commercials, I directed them all from inside the tracking vehicle, so I was traveling about 85mph most of the time, so there wasn't really anyone sitting beside me other than the driver. But, you know, yeah the agency is there and VW is there, which is- they're paying for it all and also because the agency created the boards, they want to make sure that you're not going off the rails in executing it. And also they can help, because they- it's a very different thing to cinema.
Family dramas are tough, as a playwright. Most stories are about characters going on a trip or a new character coming to town, because that's how you learn information about them. But with family, they all know each other already. There's years of history in every interaction.
What's neat about TV is you get really rich, an opportunity to tell really rich stories over the course of 20 hours. Film is cool because it's an hour and a half to two hours. You go on an adventure and by the end it's all cleaned up. Maybe in a franchise you have three chapters of a great story but in TV you can really get deep. You have more time to tell stories so I would definitely not rule out doing television in the future because I think it's a great medium for telling stories.
I think it's why we're able to look at with comic book stories or origin stories, why is it that we can keep retelling these stories over and over? And hopefully it's because it hits something so universal and so primal inside of us that we actually yearn for that same story over and over. But toned and different form, and updated and modernized, and I can go into the specifics.
I always find that really interesting, you know, when I get to see characters that I love in TV and film and theater around their family.
[Fifty Shades Darker director] James Foley directed Fear. And that's what I love about this film, because it has a real sexy thriller element about it.
I've always been kind of picky because I've always been interested in lots of different things. I chose to take three years off and go to school, and that helped keep me sane. Hollywood can make you crazy, if all you're thinking about is your next job.
I just love doing broader work - I always get asked to do fairly heavy-duty, intense dramas and interesting, psychologically intense characters. But you know, it's nice to make people laugh sometimes.
I just love doing broader work - I always get asked to do fairly heavy-duty, intense dramas and interesting, psychologically intense characters. But you know [sigh], it’s nice to make people laugh sometimes.
If you go into a forest of film stories, you never can get right through the forest straight ahead; you always have to make some U-turns or whatever, because there's some trees in the way. And that's what I'm doing. Sometimes, as an actor, if you make only these intellectual, wonderful films, which I love, from time to time you have to make a film like Armageddon so people see that you're still around.
I have always felt a little bit uncomfortable with question [why I'm write these stories]. It's not a question that you would ask a guy that writes detective stories or the guy that writes mystery stories, or westerns, or whatever. But it is asked of the writer of horror stories because it seems that there is something nasty about our love for horror stories, or boogies, ghosts and goblins, demons and devils.
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