A Quote by Anton Corbijn
If you make something with love and, you know, passion and you tell a real story, I think it will always find an audience somehow, you know.
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I gravitate to stories that I feel I can tell well, and that will have a positive affect on the viewer. That doesn't mean it always has to have a happy ending, but I always like to try to tell a story that will make people think in a new way or come to their own constructive resolution on a particular topic. Or simply, just to experience something collectively and say: "Yeah, I know how that feels".
I don't know why but I love this kind of project, when it's a little difficult and when you have a history. The beginning of the story of viticulture was in the Middle East, and it was a different generation than the science and logistics of today. My passion is to go into the past to make wine. Wine is something cultural, not only something to drink. I always try to find the identity of the place.
I always think it's interesting to switch genres, because if I read a script and I know exactly how to manifest a story, I don't really want to do it anymore, because I've already done it in my head. It becomes less interesting. If I read something that's challenging, I get really passionate and usually fall in love with it, because I feel I need to do it. I need to tell the story; I need to find a way to make it happen.
I think the key as a creator is to just trust your own intuition, and follow your passion and trust that if you make something you love, an audience who loves it will find it.
If you find something to tell, tell it to your truest, though that make little to tell; the truer you speak, the more you will know to tell.
Isn’t there a time or two you can remember when somehow an animal you’ve hunted has done something to make you let him vanish in the woods? … Isn’t there a bird or covey that somehow always manages to catch you with your gun on safe — even when you know it’s there? “I think we all know times that for almost certain we gave the hunt to the quarry.
I wanted to make a film as an artist, and it's going to have to find an audience, you know. I don't know how big the audience will be.
I think you tell the story that has to be told. You tell the story that's the truth. You tell the story that readers will be interested in and should know about.
I've found great virtue in two-thirds of the way into the message; right before I'm really want to nail home a point, pausing to tell a joke or to tell a light-hearted story, because I know my audience has been working with me now for 20 or 25 minutes. And if I can get them to laugh, get oxygen into their system, it wakes up those who might be sleeping, so there's something about using a story to draw people back in right before you drive home your final point. In that case I think it's real legitimate just to use a story for story's sake.
I know this sounds phony, but I don't start out on a project going, 'I'm going to make an emotional work,' you know what I mean? You try to tell the story directly and honestly and with passion.
It's the only way I really know how to tell the story is to be able to kind of live through the characters. So when I find something that resonates with me, it's usually because it cuts to something very real inside of me; something that I've gone through or experienced.
I think that the audience is smart enough to know that just because a drama is relating to real-world parallels, it doesn't mean that its story is exactly that story.
I test the movies a lot, and if the audience says they love the movie, we know we're on the right track. And if they tell me they hate it, I try to figure out what I've done wrong. But every time out, the audience wants me to go deeper, they want to know more about the characters, and they don't want these movies to be shallow. So they really urge me to tell them a complicated story, and then when I do so, they're thrilled
What I react against in other people's work, as a filmgoer, is when I see something in a movie that I feel is supposed to make me feel emotional, but I don't believe the filmmaker shares that emotion. They just think the audience will. And I think you can feel that separation. So any time I find myself writing something that I don't really respond to, but I'm telling myself, 'Oh yes, but the audience is going to like this,' then I know I'm on the wrong track and I just throw it out.
If I should stay
I would only be in your way
So I'll go, but I know
I'll think of you each step of the way
And I will always love you
I will always love you
Bitter sweet Memories
That's all I am taking with me
Good-bye. Please don't cry
We both know that I'm not
What you need
But I will always love you
I will always love you.
Can I say something? Um, I'm the type of person that if you ask me a question and I don't know the answer, I'm gonna tell you that I don't know. But I bet you what, I know how to find the answer and I will find the answer.
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