A Quote by Dennis Muren
Yes, if I had it my way I would do all the shots myself - I used to do that when I was just a cameraman, an operator - but there's no way; you can't do that anymore.
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I grew up as a cameraman, so it's much easier for me to shoot it myself. I work with an operator and a crew, but it's way easier for me to function as a cinematographer, than to have a cinematographer between me and the lens. I don't need that.
Yes and, you know, I can't use the nice words anymore because I used to chicken out by using them. I used to call myself plus size, used to call myself chubby. I used to call myself overweight.
When I move from being a cameraman to being a director I looked at a lot of other cameramen who tried to make the move. And in each case they moved up their camera operator to be the DP, which really meant they didn't want to give up being the DP, and really wanted to do both. And my feeling was if I was going to succeed as a director, I had to just be a director and give up the safety net of being a cameraman.
I asked myself if I would kill my parents to save his life, a question I had been posing since I was fifteen. The answer always used to be yes. But in time, all those boys had faded away, and my parents were still there. I was now less and less willing to kill them for anyone; in fact, I worried for their health. In this case, however, I had to say yes. Yes, I would.
We had always used found sound, but we had always used it in an analogue way. And it was the early days of using collage and sound in a digital way. MTV, a couple of years later would be that way.
I had big teeth, and I was goofy. I probably used to mess with people too much. People were always trying to be cool, and I was just being goofy and an idiot. So whenever I would get picked on - which happened a lot - I would usually find a way to talk my way out of it or joke my way out of it.
When I moved into making sculpture, I could handle steel the way it had been handled in the technological revolution. I could use it the way bridge builders used it; I could use it the way they used it in industry and building and not the way it had been used in art.
Starting at age 10, my personality and my identity all stemmed from employment. I had a set to be at. I was a certain way with the cameraman, a certain way with the makeup lady - a normal, routine environment.
I feel like I see life differently. I see it as this amazing challenge that I look forward to every day. I never used to see life as that. It used to be just this thing you went through and had a good time. Now I have responsibilities to myself, my family, my fans that I have to uphold. It's more exciting this way and way more rewarding.
I was in my early thirties writing about my early twenties, so there was this way of seeing my younger self from enough of a distance to have perspective but also not to feel that I had to protect myself. My dreams for myself then would have undersold myself in a way.
And I was ashamed of myself for feeling like I had to do that in order to look a certain way. I felt misshapen, just not natural anymore. And I think it was a big stimulator of my drug use.
On Fantastic Mr. Fox, I got used to working with animated storyboards as a way of planning for the shoot. We did a lot of sequences that way with this movie. Partly as a result of that, I decided to build more sets in order to do certain shots.
I kind of miss writing songs the way that I used to write songs, in the sense that I would just sit down, and all these words that told a story would come out. There's one Bon Iver song called 'Blood Bank' that is more representative of an older lineage of songs, which I like and I sort of miss. But it just doesn't happen anymore for me.
I'm really specific in the way that I shoot. I've always had a very good sense of what I need in the editing room. I used to shoot in a way that drew more attention to the camera and I've tried, in each film, to draw less and less attention to the camera. I think when you pay attention to the shots, you're aware of the fact that there's a director.
I had to learn to think, feel, and see in a totally new fashion, in an uneducated way, in my own way, which is the hardest thing in the world. I had to throw myself into the current, knowing that I would probably sink.
I would go with my husband to the tailors where he gets his shirts made, and I would watch the bespoke process. I would ask them, "Would you be able to make that for me?" And they would always say, "Well, yes, but no." They were very French about it. I decided I would just do it for myself. And I started doing that. Then other people would notice, and want it. So I started doing things for friends, little pieces, and my own line grew that way.
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