A Quote by Elia Suleiman
A lot of narrative films leave you no space for anything else but eating popcorn. I want to go in the complete opposite direction. I have to evacuate all psychology, to be less a protagonist and more a presence.
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Swim upstream. Go the other way. Ignore the conventional wisdom. If everybody else is doing it one way, there's a good chance you can find your niche by going in exactly the opposite direction. But be prepared for a lot of folks to wave you down and tell you you're headed the wrong way. I guess in all my years, what I heard more often than anything was: a town of less than 50,000 population cannot support a discount store for very long.
Charles Bernstein's pairs of jingles of 'public discourse' are 'simultaneous double narrative / the space between's the other narrative/as if they're opposite.' In the space between, outside representation but in the 'presence' of it, we are provoked to laugh. Bernstein alters our language to open a double range that's public and mind at once and inseparable, that is 'Poetry is patterned thought in search of unpatterned mind.' Girly Man is doing it.
One of the reasons why I think virtual reality, as a narrative format, is never going to go beyond the short-form immersion space is because the bedrock of visual storytelling is the reverse angle. If you can't look into the eyes of the protagonist, you cannot hold people's attention for more than 15 minutes.
The more that I see the sexism and misogyny that's coming at me from every direction, the less I think my films have anything to do with sexploitation.
It's pretty easy to think of the idea of a story, and maybe even to write a scene or two, but understanding the ebb and flow of a narrative, where to leave the little clues your protagonist (and reader) need, while playing fair, takes a lot more skill and patience than you might think.
Eating everything you want is not that much fun. When you live a life with no boundaries, there's less joy. If you can eat anything you want to, what's the fun in eating anything you want to?
I don't want to think of life after competing. But if I were to do anything else I'd go down the psychology route. That's what interests me.
I didn't want to be around anybody because it was just too much for my brain. But, as an actress, you hope you get those meaty roles that push you into the extremities of that psychology. I like doing independent films because there's more room for you to be creative, and the director allowed me to just go wherever I needed to go. It was emotional. I had to cry a lot.
Multiplexes are being very unkind to small films. They are giving a lot more space and value to the big budget films rather than distributing show timings fairly. But that fight will go on.
I'm pretty great at eating. Mostly popcorn. I'm serious: I can finish a whole bag of popcorn in under 5 minutes, give or take.
Space travel is a dream for many men and women. I think my trip will be perceived differently by different genders because for women, a lot of time, not only space travel, it's not accessible to everyone, but is even less accessible to women, there are a lot more barriers for them especially if they live in countries where things like space travel, engineering, any science and technology-related field would be considered a more male-dominated field. And so I want to show them that there is nothing preventing woman, or making them less qualified to be involved in any of these fields.
I can't write from the subconscious actually, because a lot of the time when I co-write with other people, I'm writing for them as opposed to for myself. When it comes to lyrics, I tend to want to give them their voice, since it's most likely going to be on their record, or somebody else's record. And I find for more commerial-style music, people want simplicity, less vagueness, and less space to fill between the lines, so to speak. So I can't be quite as ethereal and mystical.
I think we shouldn't be shy of thinking that we can interpret text like a movie again, depending on the point of view and what we do with it more than anything else. Of course a lot of remakes of important films, particularly of horror films, they suck.
Every work of history is a combination of argument and narrative. The longer I write, the more I emphasize the narrative, the story, and the less attention I give to the argument. Arguments come and go.
My career has always kind of moved forward and upward. I've never had anything kind of stall out or go in the opposite direction. I've always kind of been moving in the right direction.
I've done a lot of independent film, which are short shoots that are usually four to six weeks, max. I enjoy everything. After one particular experience of work, I like to go in the opposite direction and do a short film, or something else.
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