A Quote by Douglas Sirk
But I always wanted my characters to be more than cyphers for the failings of their world. And I never had to look too hard to find a part of myself in them.
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I was making films about American society, and it is true that I never felt at home there, except perhaps when my wife and I lived on a farm in the San Fernando Valley. But I always wanted my characters to be more than cyphers for the failings of their world. And I never had to look too hard to find a part of myself in them
Some writers, I'm told, look for their characters' surnames in telephone directories. I don't - it seems too obvious. Or too deliberate: if you go looking for names, you're bound to find them, of course, but I've always had a superstitious hunch that the names you find by accident are always going to be better and more satisfying somehow.
I always wanted to be the best I could be at whatever I did. I didn't want to be the number one golfer in the world. I just wanted to be as good as I could be. I work hard, I push myself hard, and I probably even expect too much of myself.
I like myself a lot more than I used to. I had a very difficult time in my twenties especially. It was hard for me to look in the mirror and find something that I liked about myself.
I'm always looking at the next thing. I'm too curious to look back...it's very hard to be unhappy when you're curious and grateful. You're busy. You don't have time to be unhappy. My biggest talent is I know who is more talented than I am. I find them and I go to them, and I learn.
If I was feeling angry, I had to investigate not just who or what I was angry at, but why. And then I had to do the hard part and ask myself: Are you justified in where your anger is being directed? So, while I allowed my emotions to be valid, I knew that if I were to use them constructively, in the service of art, then I had to look at them dispassionately. Some might call this therapy, and I suppose it was. But I also had a goal that was larger than just healing myself, which was connecting to an audience.
There are now more than 4,000 places in the sea around the world that have some kind of protection. The bad news: You have to look hard to find them. What you find instead is destructive fishing, mining, gas and oil exploration.
I had always functioned with dignity, wanting to appear intelligent, macho, never vulnerable or insecure. But now I realize that... a part of these comic characters is a fundamental part of me too.
The way I look at love is you have to follow it, and fall hard, if you fall hard. You have to forget about what everyone else thinks. It has to be an us-against-the-world mentality. You have to make it work by prioritizing it, and by falling in love really fast, without thinking too hard. If I think too hard about a relationship I'll talk myself out of it. I have rules for a lot of areas of my life. Love is not going to be one of them.
Every actor, I don't care what they say, their roles are a lot more interesting than we are, and at the end of the day, it's still entertainment or fantasy. I think we can learn a lot from the characters we play and I find that the characters are even more noble than myself.
I've always been too hard on myself to behave like I've arrived or even to enjoy whatever success I've had. I've always envisioned myself higher than where I was and I still do. With each success I think, 'That's nice but I'm supposed to go there!'
Acting is such a high art, and coming from theater, I know how hard it is and respect the craft. I want to look back when it ends, and say I challenged myself. I wanted to be an actor you always remember, and those who are the great ones. That's just a personal journey. If you're too comfortable you're taking it too easy. The director can direct you for two months but before that it's just you and your internal drive. I want people to go to my movies and know it'll be good, and with great actors. You never know what you'll learn from just staying in the same space with them.
And I too wanted to be. That is all I wanted; and this is the last word. At the bottom of all these attempts which seemed without bounds, I find the same desire again: to drive existence out of me, to rid the passing moments of their fat, to twist them, dry them, purify myself, harden myself, to give back at last the sharp, precise sound of a saxophone note. That could even make an apologue: there was a poor man who got in the wrong world.
I think that I write much more naturally about characters in solitude than characters interacting with others. My natural inclination - and one that I've learned to push against - is to give primacy to a character's interior world. Over the three books that I've written, I've had to teach myself that not every feeling needs to be described and that often the most impactful writing more elegantly evokes those unnamed feelings through the way characters speak and behave.
Part of the core of my system, is a way of trying to give the characters more control. If I'm practicing making up what the characters will do, it's never good. In fact, when I catch myself doing that, I try to get rid of that section, and try and let them start making the decisions.
You're always trying to look for material that is as challenging as possible, so that's why I like stuff where the characters go through the most difficult times they've ever had in their life. It makes me push myself further and learn more about myself.
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