A Quote by Charles Busch
There's a real fantasy quotient to my work. Any play that I've written for myself to perform in basically begins with the idea, "Wouldn't it be fun to be, say, Jean Harlow in a pre-code movie?"
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[To Jean Harlow, who repeatedly mispronounced her first name:] No, no, Jean. The t is silent, as in Harlow.
I made my last motion picture in March 1965 for Magna Pictures. 'Harlow,' based on the life of actress Jean Harlow... I didn't know at the time that 'Harlow' would be my last motion picture.
Villains can often be one note and I would say in that case, it’s not fun to play the villain. It’s fun to play the villain if he a) has dimension and b) the villain gets to do all the things in the movie that in life he would get punished for. In the movie, you’re applauded for them if you do them with panache. And so that’s why it’s more fun to play the villain.
I kind of 'code-sketch,' where I get started with a project by actually writing the code for it and getting something up on the screen. Then I play around with it and see if it's any fun and change the parts that aren't.
There's no real downside to any sort of work that I do. I'm all so grateful for it, but I wouldn't say that animated work is just a walk in the park. It is easy, it's really fun, but I don't know why I really stress myself out every time I'm about to go in.
And it was the idea that you can do a play - like a Shakespeare play, or any well-written play, Arthur Miller, whatever - and say things you could never imagine saying, never imagine thinking in your own life.
It's fun to play characters with a past, but it's also fun to play any role that is what I would call a 'pressure cooker' kind of character, where the lid is on, and it's left to simmer throughout the movie.
People don't like to say Fantasy they say Magic Realism which means Fantasy written by somebody I went to university with.
Jean-Luc didn't like me to say any bad words in real life, and I would always do it on purpose, just for fun. And he would go crazy! Then he had Brigitte Bardot do just that in 'Contempt.' And in that film she also has this line - 'I want red velvet curtains, or nothing at all in the apartment' - which was something I would always say.
The dynamic principle of fantasy is play, a characteristic also of the child, and as such it appears inconsistent with the principle of serious work. But without this playing with fantasy no creative work has ever yet come to birth. The debt we owe to the play of imagination is incalculable. It is therefore short-sighted to treat fantasy, on account of its risky or unacceptable nature, as a thing of little worth.
I don't play fantasy baseball anymore now because it's too much work, and I feel like I have to hold myself up to such a high standard. I'm pretty serious about my fantasy football, though.
I'm basically a pretty shy person and I don't dance or get into fights. But there are all these things inside me that get out when I perform. It's like a real world when I play, here I can do all the things that I can't do in real life.
I prefer writing for myself to perform, I guess. But if I had to choose, I'd rather perform in someone's movie than write a movie for someone else.
The moral problem of abortion is of a pre religious nature because the genetic code is written in a person at the moment of conception. A human being is there. I separate the topic of abortion from any specifically religious notions. It is a scientific problem. Not to allow the further development of a being which already has all the genetic code of a human being is not ethical. The right to life is the first among human rights. To abort a child is to kill someone who cannot defend himself.
I always try to emulate those I admire. Pamela Harriman, Coco Chanel, Wallis Simpson, Jean Harlow, Diana Vreeland.
I don't believe in development. I believe in pre-pre-production, so when I sit down with an idea for a movie, I'm thinking I'm going to make this film. I don't think about anything else.
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