A Quote by Catherine Hardwicke
As a filmmaker and film student, I think it's really interesting to hear what a director did and how they figured out how to do things.
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I like doing commentary. As a filmmaker and film student, I think it's really interesting to hear what a director did and how they figured out how to do things. I often like the technical commentaries myself.
Well, there's two things I have criteria for doing a film: The script, which is the story, and the filmmaker, and it's a filmmaker's medium. I like really strong directors, and so when I do a film, I'm out there to serve the director, really, which is in turn to serve the script, to serve the director cause he's the one making the film. I relied on Todd Haynes for that.
I haven't yet figured out how I was made first captain, because I was not an outstanding student. I was an adequate student.
The thing that helped me most when I started my own business was my experience as the president and PR director of student associations in college. Because of that I knew how to create and run an organization and how to really make things - even hard things - happen.
When I did my first film, I didn't have formal training; I didn't work under any director. I really didn't know how to make a film.
If I get stuck, I look at a book that tells me how someone else did it. I turn the pages, and then I say, 'Oh, I forgot that bit,' then close the book and carry on. Finally, after you've figured out how to do it, you read how they did it and find out how dumb your solution is and how much more clever and efficient theirs is!
I think that the most important thing for me is, how is the character that I would be reading for? Is it interesting? Is there stuff to do? Are there things that you can do with the character? How can you play it out? Just those kinds of things that are very important for an actor. Also, a good director and good dialogue.
I'm 17 years old. I'm not a straight-A student or anything. Even so, I figured out how to make an Internet that they can't wiretap. I figured out how to jam their person-tracking technology. I can turn innocent people into suspects and turn guilty people into innocents in their eyes. I could get metal onto an airplane or beat a no-fly list. I figured this stuff out by looking at the web and by thinking about it. If I can do it, terrorists can do it. They told us they took away our freedom to make us safe. Do you feel safe?
Every time I see a film or TV show, I think about how that composer made those choices and how that director envisioned music and how that could work onstage or in a film and how you could support that even further by putting lyrics to it.
There's not a formula that I'm following; it's just how I feel at the time. For instance, I did a very experimental film called 'Hardcore Henry,' and that was simply because I thought the filmmaker was very interesting and a risk taker. A film like that had never been made before, so I chose to do that at the time.
I've always wanted to figure out how to do a walking story. I'd never figured out how to do one and have it work or be interesting or have anything that it's about.
I judge my film choices based on the director, and then I see how much the story has affected me when I read it or when I hear it in the narration. Then comes how important my role is in it, but primarily director, script, and then role.
It is, I think, harder for women. I haven't quite figured it out, and all of my women friends haven't figured it out -how the hell do you do this? How do you work and have families?
What I have learned first and foremost is to follow your instincts. As a filmmaker, there are no rules as to how to play this game. That is a big problem I think that exists in the education on how to be a filmmaker or how to make movies.
I'm a film director. Gay is an adjective that I certainly am, but I don't know that it's my first one. I think if you're just a gay filmmaker, you get pigeonholed just like if you say I'm a black filmmaker, I'm a Spanish filmmaker, I'm a whatever.
You can always hear a director saying, 'Well I don't really know what this piece is saying, so therefore, I reject it.' There are any number of things you can anticipate going wrong, and sometimes they go right. But I think the things you like most are the things that get rejected first. That's just how things work.
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