A Quote by Claire Denis

I always scout locations first. The apartments, the railway tracks, the café, the canal - I figure out the geography of the film. — © Claire Denis
I always scout locations first. The apartments, the railway tracks, the café, the canal - I figure out the geography of the film.
Start with scout locations first.
I love to scout locations.
When I first moved to L.A., I cleaned apartments after people moved out. When people move, they leave stuff behind and haven't cleaned for weeks. I like to clean - I have no problem with cleaning - but some apartments were filthy and disgusting. And there'd always be a random flip-flop left somewhere on its own.
Panama is a country that's been dealing with issues of identity since its very birth. It was born on Wall Street. It was born out of engineering construction. It was the canal. Because of the canal, the country was born, so the country has been divided into pro-canal and against-canal people for so long.
You are a 64-track recording - the tracks are always there, they're always with you. Sometimes the harsh tracks are cranked up and the rest are rolled down to zero. Other times the sweet tracks are high and the darkness is low. But it's all you.
Our position has never been that people should be forced out of Scouting. We have always said that the values of Scouting are universal they should be welcome to everyone who is willing to live by the Scout oath and the Scout law.
I'm always on tour, so I'm always trying new tracks out live before they're released. That's more necessity than anything, because I don't get a proper chance to sit in a studio and work on tracks like other producers do.
I try to turn a place on film into a mental state. I always have three or four locations that I repeat and return to in a film, to make it more mythic. But my fiction films are relatively subjective stories, experienced though one character. And that always justifies a little stylisation in terms of landscape.
We didn't stow away!" Dan protested. "You sunk our boat and pulled us out of the canal!" "Good point," Ian agreed. "Return them to the canal. Roughly, please.
Each one of us in Café Tacvba is a composer and we come to the group with songs written out, musically and lyrically. Occasionally, there's a collaboration between us. But each song is almost always written by one of us, and then we all figure out the arrangements. Up until now there hasn't been a moment where the composer explains the song and says, "I want to say this or that." It's always open for interpretation.
We tend to intensely scout an area and then use our imaginations to make the best use of the geography.
I'm always making tracks. I find that when you make tons of tracks, you stumble upon genius. You can't always turn the drum machine on and right away there's a hot track. Sometimes you luck out. But it can take a lot of time between thinking about the artist, listening to music for inspiration or going to clubs.
When you shoot a musical, you're shooting to lipsynch tracks, so we had to figure out our choreography and work out what we wanted to do with each number before we did it.
The world's geography is not realistic. Geography is not real. Borders are only closed to people but they are open to products. There is another type of geography outside of this matrix. Because of this we noticed we were talking about much more than just Latin America. That was very important to put the film on another level. Based on this idea, we knew that we were not in this world any longer.
I moved to L.A., and I lived in the Oakland Apartments, which is this notorious hub for actor children and their stage moms. For the first few years that I lived there, Hilary Duff and Frankie Muniz frequented the apartments. I was much younger than them at the time.
I've been acting for 25 years, living out of suitcases on theater tours or film locations.
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