A Quote by Barbara Crampton
The people I love the most in the film industry are the writers. And I think they're the people who are most vulnerable and are really open to new ideas. They're the originators, the creators.
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I think that, for a lot of us, the closer we get to showing people who we really are, that's where we feel the most uncomfortable, the most vulnerable. But it's also where the healthiest growth comes from. Like when I can really open myself up to someone and show someone who I really am, it's amazing when it happens.
What's interesting is, most of the people who are fans of the The Wire who black people or cops... most of the people in the industry are the crew: writers, actors and directors. And so they understand what it is that we do, so they think, "Wow, what a incredible group of amazing actors." It's funny, I think there are a couple of reasons why we have never gotten any nomination for anything except for writing.
Priests and pastors are probably the most stereotyped characters in film and television, and the reason why, I think, is that most people don't know one. Most writers who work in Hollywood don't know any.
The most thankless job in our film industry is that of lyricists. Next in the list are writers. These two don't get any recognition at all, whereas they have the most important roles in every film today.
I think for writers, I think it's really important to court eviction from your tribe: to expose things and to wake people up. And so I think that that can feel like a violation to the people you love the most.
You know, it's a funny thing about writers. Most people don't stop to think of books being written by people much like themselves. They think that writers are all dead long ago--they don't expect to meet them in the street or out shopping. They know their stories but not their names, and certainly not their faces. And most writers like it that way.
Jean Renoir once suggested that most true creators have only one idea and spend their lives reworking it, but then very rapidly he added that most people don't have any ideas at all, so one idea is pretty amazing.
I did face the casting couch when I had gone to sign a film; but I don't want to name the person. Most people in the film industry are like that. But thankfully, the television industry has been spared of it.
It's great to meet people in a setting where it's really conducive to hanging out and having
fun. Most film festivals are really low-stress, and good times to hang out with buddies and talk about what you're working on and come up with new ideas.
I think, honestly, that ego makes you most vulnerable. When you are in humility you are much more comfortable, open and okay with BEING vulnerable, whereas the ego is the protecter, and even though you think you're protecting, I think you are more vulnerable if you're in ego.
The most vulnerable people have tough exteriors because they are very scared inside, and it's very hard for people like that - people like me - to open up. But playing it safe means you stop being open to learning. I always try to find the challenges.
If you think about 'The Matrix' and how high-concept it was, it had these incredible ideas that really penetrated people's consciousness. It really was a film of awakening. I think a lot of people woke up around that film.
I really enjoy working with people who have come into this industry for what I think are really admirable reasons. People who really want to tell brilliant stories and do it in the most effective way possible.
I think quite often, being on the new set is not what you expect. The most serious film can be the most fun. The one that's supposed to be fun can be the most serious. I don't think there are any hard-and-fast rules. I just think it really depends on your director and what the general vibe is.
On the 'X-Men' films, people are always throwing out ideas and trying to get the shot to look the best and make the most sense, and to get it done efficiently. Everybody collaborates and everybody is very open to new ideas.
Most young people now are very vulnerable as to what the American film aficionados are going to say. They care too much about a system that has no room for them. It's really a serious issue for me, because to me it's, how do I survive beyond a film that was disgraced or praised?
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