A Quote by Chloe Zhao
'Meek's Cutoff' by Kelly Reichardt - it's beautifully shot. It's a complex story. The filmmaker gave a very patient and feminine touch to a story that takes place during a period of history that's very masculine, without losing any of the unforgiving harshness of the reality where the characters found themselves in.
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Meek's Cutoff by Kelly Reichardt. It's beautifully shot. It's a complex story. The filmmaker gave a very patient and feminine touch to a story that takes place during a period of history that's very masculine, without losing any of the unforgiving harshness of the reality where the characters found themselves in.
'Seconds' is grounded in the reality of this restaurant environment, and I did do plenty of research, so there's that. It takes place in a town that is like a kinder, gentler fairy tale version of reality. Then it takes off into a story that is very strange, very mental.
We are nearly all composed of such a complex mixture of human qualities that in each one of us reside both masculine and feminine principles: what man is without any female attribute and what woman never demonstrates any masculine characteristics?
'Ida' doesn't set out to explain history. That's not what it's about. The story is focused on very concrete and complex characters who are full of humanity with all its paradoxes. They're not pawns used to illustrate some version of history or an ideology.
Everyone has a masculine and feminine side; masculine qualities and feminine qualities. We've all got these sides to ourselves. And clothes can tell that story. People would think this is very unsympathetic, but I would always say to people, you don't actually need to go through with an operation, can't you just be? You are who you are! But then people say to me, "Oh, you're really dreadful, how would you know?".
My style very much leans towards the masculine, but I think I am feminine in it - I like the feminine body in masculine shapes. The androgynous look suits me.
I can relate to historical characters or imaginary ones. It doesn't matter if a story takes place in the future or in the present, as long as the story is compelling.
I don't use recurring characters. I do get very interested my characters while I'm working with them, and I find the process of fitting them into a story, and allowing them to create the story around themselves, fascinating. But no, I don't imagine they have a life outside of what I make for them.
A compelling and important story of First Word War Scotland, a time when women redefined the word hope as the world was losing its innocence. Andrea MacPherson writes beautifully, balancing the lives of her characters between history and the poetry of gesture, secrets and love.
I believe that if the story is fleshed out and the characters more believable, the reader is more likely to take the journey with them. In addition, the plot can be more complex. My characters are very real to me, and I want each of my characters to be different.
Everywhere you go you find readers who are interested, even though the story takes place here in this very neighborhood. It doesn't matter that it takes place locally if the intention to make it universal is there. That's what I strive to do.
Creativity is basically a feminine process. I'm convinced that we have in our soul, everybody, this masculine side and this feminine side. So at the end of the day, you always use this feminine creative energy to write or to do any type of art or creativity. So if I see that my protagonist is feminine, it's not more difficult, no. And even when my protagonist is masculine, I'm writing from using this feminine energy.
When I was writing my first novel, 'Where the Line Bleeds,' which had young black men as its main characters, I was very invested in telling the story and also very worried about the effects the story would have.
'Call Me by Your Name' does not have a political agenda. It is not a 'cause' film. It is a simple and beautifully shot story about a same-sex relationship that exists in a very tiny Italian village.
The fact is that we wouldn't have found out about Manzanar except in our story-telling because it was really never told in the American history books when we attended school. So we were very, very lucky to have that part of history told.
I like the big bombastic singers, but I'm also very drawn to what I call character singers. They're people who obviously aren't very huge singers, but they've got this ability to tell a story and touch you emotionally without really using any kind of histrionics or special effects.
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