A Quote by Catherine Hardwicke
Every filmmaker's just going to keep trying to make it the best you can make it: make it as potent and interesting and entertaining and exciting and tough and sexy as you can.
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I am a director and I think actually they're not that different - dramas and docs aren't that different. When I'm doing a drama I'm trying to make things feel as believable and real as possible. The hair, the make-up, the costume, the design, you're trying to make it authentic. And when you've got a documentary it's all authentic, so what story are you going to tell and how do you make it dramatic and exciting? It's the same thing.
In a way, the truth is that I was dreaming to do a movie in the United States just because, as a filmmaker, I always loved the idea of trying to make movies in a different culture, in a different way. It's always interesting to make a movie abroad.
Different things make me feel sexy. Sometimes it's just a manicure or when I buy some new underwear or just receiving a compliment from a guy on the street. But I think to feel sexy, you just need the right person next to you, who's going to complete you and make you feel even sexier.
LeBron's probably the best player in the world, so you just have to make it tough for him, make him take tough jump shots and things like that.
I'm not trying to become a pop artist, and I'm not trying to make sure I stay a country artist. I'm just trying to make sure I make the best music I can, according to my way.
They make Spy Kids, they make Scream, they make A Scary Movie. This doesn't do that, so it could be a very bad marriage. I'm trying to keep this potential nightmare quiet because we're just finishing editing.
Because it's me playing the character, trying to find a way to make it believable and entertaining and interesting.
There's no destination. There's no getting anywhere. There's just the going. The key to life is to make the going really fun. Because people that are like, “If I just get to this, then boom!” And then they get there and there's this dawning of an afterwards. Whereas I'm just always in the going. And it's not a frantic going like, “I gotta keep going or I'm gonna go nuts!” I can not do anything for weeks or months if I need to and just sit and read books or watch movies. I'm just as fine consuming and absorbing new art as I am trying to make it. But it's all in the going.
When you make a film, you're creating the illusion of a natural experience. But everything is created on purpose. If I want you to be scared, I'm trying to scare you. If I want you to cry, I'm trying to make you sad. If I want you to laugh, I'm trying make you laugh. So, how I get you there is what makes it interesting, because I also want it to feel seamless, and not forced. That kind of constant experimentation is just fun to explore, and I love it.
As a filmmaker, you just make the movie you want to make, and you sort of put your faith in the distributor to make sure the right people see it.
It'd make a wonderful change to have the leader of a pluralist democracy who acted on that, who told people just how tough things are going to be, just what's going to have to be done - and, maybe, ran all the risks on the side of honesty, rather than spinning stories and trying to win the headlines every day.
Even when you're acting with a producing hat, when you're in every scene, you're really conscious of trying to make everybody as good as they are, because ultimately you're trying to make the best movie possible.
I just love being able to create and make things that inspire and that make people laugh, and my motivation to keep going is to make more opportunities to do that.
It's not enough just to be real; you have to try to make it interesting or entertaining.
There's really no difference between what I do and what a male filmmaker might do. I mean we all try to make our days, we all try to give the best performances we can, we try to make our budget, we try to make the best movie we possibly can.
We're all going to die; I'm just trying to make it a little more interesting.
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