A Quote by Christopher Nolan
I sometimes think how strange it is that I've got to do exactly what I want, and that is difficult to cope with. You have to remind yourself every few weeks: I'm making this film and this is exactly what I want to do. And suddenly you're happy again.
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If you are a designer, sometimes it is better not to delegate, because someone pays money for something that you designed, so it should be exactly the way you want it, exactly the way you would have chosen it. People call me a control freak, and I say, "Well, my name is on the shoe." It means the heel needs to be the way I want it and not the way somebody else wants it, and the toe needs to be exactly the way I want it, and the fabric and the material have to be exactly the way I want it. It is not a democracy - it is a dictatorship.
I'm not sure if I'm depressed. I mean, I'm not exactly sad. But I'm not exactly happy either. I can laugh and joke and smile during the day, But sometimes when I'm alone at night I forget how to feel.
You want to give the director what they want, and you don't always know exactly how it goes, so you want to try it a few different ways. You have to be flexible; you have to be in collaboration with the director; you have to be versatile. But you also want to be protective of what you really believe in and how you feel it should be portrayed.
With theatre especially, you don't want to do it unless you love it - there's no way you can pull it off, making people happy, making yourself happy for 12 weeks or whatever.
Everything in comedy's got to be exactly right, which is why making a comedic film is kind of a difficult process, because, for most of the two years of shooting it and editing it and reshooting and all of that, it's not quite right. And it's only when you just at the end, you put the final polish on it, it becomes really funny again.
I generally go into a movie with a very strong vision, with how I want to make the film, how I want to shoot the film, how I want to edit the movie, what I want the sound to sound like. So I have a very concrete idea even if I don't storyboard it, I know exactly what I want to do once I get into the sequence. Now having said that, I try not to let that slave me to the process. So if I do storyboard a sequence I don't necessarily stick to it if I discover more exciting things on set.
I've gone into auditions and I think they have an assumption about me when they see my photo and then I open my mouth and they say, 'Where exactly are you from? And you were born in Ethiopia? But you're Irish, but you also kind of sound English. That's really strange.' They want to put you in a box in LA, that's how they tend to do it there, so if you don't fit in that box, it makes it more difficult.
...because in a way it happened to someone else. I don't really speak that person's language anymore, and when I think about her, she embarrasses me sometimes, but I don't want to forget her, I don't want to pretend she never existed. So before I start forgetting, I have to get down exactly who she was, and exactly how she felt about everything. She was me a lot longer than I've been me so far.
Sometimes you get involved in a film because you just love making movies and you want to keep working. Sometimes you're lucky enough to find something that you really care about. Therefore, now I'm emphasizing developing my own projects and writing my own screenplays, so that I can do exactly what I like to do.
The key to having everything we want lies in expanding our definition of what's possible and focusing on what we want. That's it! Once we believe in the possibility of anything and focus in on exactly what we want to have, exactly what we want to do, then our minds can take us there.
I know that what keeps me interested in my job and in the medium in general that what makes every few months more interesting, or newly interesting every few weeks, is the idea that everything is changing, that the ideas that you think are sacrosanct and unimpeachable suddenly are up for grabs again.
Film and stage are very different; I don't necessarily prefer one over the other. Every few years, I get a big itch to go back to the theater. To learn humility, to learn bravery and to remind yourself that the pistons that drive your craft are working on full power. And to remind yourself how badly paid actors can be.
I rarely know exactly what I want to do, but always know exactly how I want it to make me feel. Feeling always leads the sound!
It's very difficult to change your approach to how you see yourself when you suddenly get divorced. And you have to think again, over the next few years, how you're going to earn your income, how you're going to run your life. You have to identify as a single mother rather than as part of a family.
I'm not twentysomething. I'm not trying to find myself - I know exactly who I am and exactly what I want. And I don't want a fan. I want a man who understands me, who challenges me, who calls me on my sh-t instead of letting me get away with it because I'm supposed to be a star. I want a best friend.
I think the first thing you release should come from you. If you want your first piece to be exactly how you want it to be, and how you see it, you should release it yourself.
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