A Quote by Federico Fellini
As a writer and director, I want to know what is behind the good manners and soft voice. Who is inside the silhouette?
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I don't think it's so important to be a movie director. It's a beautiful profession, but no more than to be a cartoon writer. A very rich cartoon writer. I've done a lot of films, and I know deeply that, in all of cinema, there is no director who is as good as Shakespeare.
With a director it's all about the work; I'd work with a great director over - you know, I'm not the kind of actor who that doesn't go, 'I want to play this role.' It's more like, 'I want to work with this director,' regardless of what the role is because if it's a good director, you'll probably find a good role because it's a decent film. But a mediocre director will always make a mediocre movie.
I think having women behind the cameras is exciting - whether it's as a director or a writer or a producer - because it does feel like we're in the middle of this awakening of realizing that it's important for women to have a voice.
You wake up and you feel - what? Heaviness, an ache inside, a weight, yes. A soft crumpling of the flesh. A feeling like all the surfaces inside you have been rubbed raw. A voice in your head - no, not voices, not like hearing voices, nothing that crazy, just your own inner voice, the one that says 'Turn left at the corner' or 'Don't forget to stop at the post office,' only now it's saying, 'I hate myself.' It's saying, 'I want to die.'
The Voice There is a voice inside of you That whispers all day long, "I feel this is right for me, I know that this is wrong." No teacher, preacher, parent, friend Or wise man can decide What's right for you--just listen to The voice that speaks inside.
All my career, I've said this: Critics and producers think audiences want actors that only present the silhouette and hit the points in the silhouette. What I do is too dangerous.
But what I would like to say is that the spiritual life is a life in which you gradually learn to listen to a voice that says something else, that says, "You are the beloved and on you my favour rests."... I want you to hear that voice. It is not a very loud voice because it is an intimate voice. It comes from a very deep place. It is soft and gentle. I want you to gradually hear that voice. We both have to hear that voice and to claim for ourselves that that voice speaks the truth, our truth. It tells us who we are.
You can give the greatest performance possible, but if you don't have a director who's pointing the camera in the right direction and an editor who's editing it properly, it doesn't matter what you do. The director and the editor are the most important people. Not the actors. Sometimes the writer is important. But if you don't have a good director, you can't have a good production.
There are two qualities that make fiction. One is the sense of mystery and the other is the sense of manners. You get the manners from the texture of existence that surrounds you. The great advantage of being a Southern writer is that we don't have to go anywhere to look for manners; bad or good, we've got them in abundance. We in the South live in a society that is rich in contradiction, rich in irony, rich in contrast, and particularly rich in its speech
Good manners and soft words have brought many a difficult thing to pass.
I really want my career to be as an actor-writer-director-producer, you know? I don't know what will be stronger than the other.
One of the things about writing a novel is you can do it any way you want. It's your voice that's important and I see absolutely no reason why a screenplay can't be the same. It makes it a hell of a lot easier when you're the writer and the director.
A lot of directors don't know what they want to do. Every director I've seen that was a good director that I've admired knew exactly what he wanted to do. They didn't sit there and think about it.
It's madness to hand in a script to a director, leave them alone, and for the director not to want the writer there with rehearsals and the shoot.
Karen wasn't hard, she was soft, too soft. A soft touch. Her hair was soft, her smile was soft, her voice was soft. She was so soft there was no resistance. Hard things sank into her, they went right through her, and if she made a real effort, out the other side. Then she didn't have to see them or hear them, or even touch them.
British culture loves the image of itself in the mirror; it doesn't want to look deep inside, behind the eyes, inside the brain, inside where those shivers and nightmares lie.
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