A Quote by Elisabeth Moss
Even though I'm an actor, even though I know a little bit about film, I very much view things as an audience member. For me, whether it's TV, film, theater, whatever, it's a big movie, a small movie, whatever it is, I look for the truth in it. I look for the honesty. I just look for if it feels honest and real to me.
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I would make a huge distinction between theater improvisation and film improvisation. There isn't much improvisation in film - there's virtually none. The people that theoretically could be good at this in a theater situation don't necessarily do this in a film in a way that will work, because it's much broader on a stage. But in a movie, it has to be real, and the characters have to look entirely real because it's being done as a faux documentary, so there are even fewer actors that can do that on film.
I think maybe because I do other things and they mean as much to me as movie acting, it takes the onus off me. It's not the end of the world if I can't get a film job, or if a movie doesn't turn out well - even though I don't like it when that happens.
I think that's true of all cinema, that's why cinema is the great humanistic art form. Whatever the film is, it doesn't matter what the film is about, or even whether it's a narrative or figurative film at all, it's an invitation to step into somebody else's shoes. Even if it's the filmmaker's shoes filming a landscape, you go into somebody else's shoes and you look out of their lens, you look out of their eyes and their imagination. That's what going to the pictures is all about.
When something feels really big, too big to handle, just go very small. Just go real small, just look at the person next to you and look in their eyes and meet the person next to you, find out their name, change one person's life and make one call, write one letter, give one dollar. Whatever small thing feels like what you can do - it changes the course of the ship and that is all it is.
If you have anyone smoking pot in a movie it automatically, I think, knocks it up to maybe PG-13 movie rating and if there's a lot of it, even an R rating, even though chances are it is a legal activity in whatever place the film takes place.
Rain Man certainly didn't test really well. If you look at it carefully, you have a disease autism they didn't understand back then, they didn't know in the test audience whether it's okay to laugh or not laugh, because it's a film that's done in a way where, "Well, maybe I'm not supposed to laugh." At the end of the film, Dustin Hoffman gets on the train and doesn't even acknowledge his brother. Not even a glance, nothing. That's why the studio said, "Can't you just have him look at Tom Cruise at the end of the film?"
I grew up in a town with no movie theater. TV was my only link to the outside world. Film wasn't such a big deal to me. It was TV. So much so, that when I meet TV stars now... Not my co-workers, but real TV stars, I get nervous. I freak out around them.
You never know how a film will play, whether it will be successful or not, or whether it will touch the audience. I always said to myself that whatever happens, big audience or small, that I would not let the results have an impact on my way of working. But it would be a bit silly for me to change my methods when I have a big success. That means my methods work well.
Even though it took forever to release a movie, and even though it's a small indie release, the fact that in five years someone will be skipping through Netflix, or Amazon, or whatever and say, "Wow, that was a really cool movie. That was a really great story. Or I was really creeped out, or intrigued by that." You almost kind of forget what it took to get there, or was it in the theaters or not. So that's kind of exciting as a filmmaker. That it doesn't really matter as much the release platform, as much as how can I see it?
I do think, even though I've made these genre movies, there's what happens in the movie and then there's what the movie's about. And for me, what the movie's about is so much more interesting.
All I want and all I even ask of people in Hollywood is look, just be honest with me. Please don't lie to me. Whatever the situation is, be honest with me.
Even though you're in charge, you're not completely in ownership. You know, the audience takes a huge ownership of your show. Look at comments about shows and tell me if I'm wrong. Look at shows like 'The Walking Dead' and the ownership that the audience has of that show.
I think people are willing to take more of a risk on an indie film, about character, etc...but at the same time, when I work on projects that are substantially bigger, in a way they do feel small. Even though the catering is way better and we actually have someone shooting with real film.... The budgets are bigger but the story still feels small, like an indie film.
In the theater the audience is generally riveted to a single angle of observation. The movie director, though, can rapidly shift from objective to subjective--and to any number of subjective points of view--and in so doing seem to pull the audience directly inside the frame of his picture, giving the spectator the sense of experiencing an action from the viewpoint of a participant. Identification of the viewer with the film character, then, can be much more intimate than the analogous situation in the theater.
What makes international cinema so interesting is that each territory has its own sensibility. When you look at an Indian or French film, there's a certain flavor. And even though the language is different, if the film is successful, it has something very common and understandable.
I look at photos of the Sochi Olympics - even though it sometimes seems like it was just yesterday - that photo doesn't even look like me. It looks like a child. I don't even recognize myself.
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