A Quote by Christian Bale
I chose to tell a personal story. When you tell a movie like this that's as emotionally charged as this is, it's a risk. As one of my great cinematic heroes, Francis Coppola, would say, "If you aren't taking the highest, greatest risk, then why are you a filmmaker?"
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I don't think I'm a risk-taker. I don't think any entrepreneur is. I think that's one of those myths of commerce. The new entrepreneur is more values-led: you do what looks risky to other people because that's what your convictions tell you to do. Other companies would say I'm taking risks, but that's my path - it doesn't feel like risk to me.
to love is to risk, not being loved in return. to hope is to risk pain. to try is to risk failure. but risk must be taken because the greatest hazard in my life is to risk nothing.
If I had known my own limitations, I never would have taken the risk, and the risk led to one my greatest artistic and personal experiences.
To laugh is to risk appearing a fool. To weep is to risk appearing sentimental. To reach out to another is to risk involvement. To expose feelings is to risk exposing your true self. To place your ideas and dreams before a crowd is to risk their loss. To love is to risk not being loved in return. To hope is to risk pain. To try is to risk failure. But risks must be taken, because the greatest hazard in life is to risk nothing.
Francis Ford Coppola did this early on. You tape a movie, like a radio show, and you have the narrator read all the stage directions. And then you go back like a few days later and then you listen to the movie. And it sort of plays in your mind like a film, like a first rough cut of a movie.
We're in the business not so much of being contrarians deliberately, but rather we like to take perceived risk instead of actual risk. And what I mean by that is that you get paid for taking a risk that people think is risky, you particularly don't get paid for taking actual risk.
Sometimes it would be nice to just have some red wine with dinner, but it's not worth the risk. I have a great life, a great situation. Why would I want to risk self-destructive behaviour?
I think with 'Tangerine' we were taking that gamble - it was a risk - that we could tell the story in a comedic fashion to attract an audience and shed light on an issue.
Vera said: 'Why do you feel you have to turn everything into a story?' So I told her why: Because if I tell the story, I control the version. Because if I tell the story, I can make you laugh, and I would rather have you laugh at me than feel sorry for me. Because if I tell the story, it doesn't hurt as much. Because if I tell the story, I can get on with it.
If you want to tell a new story, it is a risk. But then you have to do it in the best financial way as possible.
Risk taking in business is one thing. Risk taking in your personal safety is a different thing.
When I make film music, I'm a filmmaker first and foremost. It's about serving the needs of the film. You're telling a story; in a way, you stop becoming a composer and become a storyteller instead. You tell the story with the most appropriate themes. How you approach these things is a very personal matter, but your goal is to tell the story first.
I don't tell a story unless I have a very deep bench. If you tell an idiosyncratic story, there's no resonance. People read it and say, "I don't see anyone like that." So I tell a story only when I have many stories behind it.
Now, one thing I tell everyone is learn about real estate. Repeat after me: real estate provides the highest returns, the greatest values and the least risk.
I always tell clients you have to be able to remember why you chose to do a movie: to always be able to look at a movie and know, whether it's good or bad, why you chose to do it.
I look for a great story. One that I would like to watch, or tell, or that I think needs to be told, because I know that, as an actress, I have a responsibility to tell certain stories and to tell them properly.
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