A Quote by James Ponsoldt
With Rodham, for instance, it has to work on an emotional level. It has to work on a character level. If it's only "Look, it has famous people," then it's a wax museum come to life and that's really boring. It's sort of like what they say about science fiction and horror where the really good ones, if you remove that element of it, it still has to work. That's the reason The Shining works or Rosemary's Baby or Blade Runner.
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I like doing voiceover work. I just like it in general, because you're constantly working on a very first-instinct level. You show up, you get in front of the microphone, you look at the lines, you say the lines, and then you move on. You work on a really primal level, is what I'm saying. You don't have to shave. You don't even have to wear pants. But, uh, that wasn't your question.
I work, and then I leave the office, and I'm with my kids and just sort of enjoy them on a visceral level, and I don't feel like I'm exorcising my own deep ideas about parenthood and about how my life will come into play in my work.
I really do like a really good science fiction movie and a really good horror movie. Those are the kinds of things I really like. But, I mean, I'm not into sort of like slasher movies. I like a really good science fiction movie, which is hard to do. They don't make many really good ones any more.
I had a teacher once who said, "If you are going to write fiction, you should only read poetry." I have always been interested in the writers who care about their sentences and who really work on that level. I have always said that I hate writing, I love revision. So, the language is really important to me. And the comedy and the horror that come out of the language.
As a fiction writer you train yourself to think about situations subjectively. I don't really care for narratives that are just A, B, C, D, and then E. I like the aura that fiction has, how it can conjure up dream imagery. It's a sort of emotional speculation that you can shape and work with.
Blade Runner's just a noir at the end of the day. Rosemary's Baby is about the fear of having a child and how that gets in the way of a romantic relationship. Or whatever it is, and you add that extra element that blows your mind apart.
A film is sort of binary - it either works or it doesn't work. It has nothing to do with how good a job you do. If you bring it up to an adequate level where the audience goes with the movie, then it works, that is all.
Well, I'm always drawn to the drama first. A story is really only interesting to me, if you can remove all of the genre moments and remove the supernatural element, and it still works. Then, I'm interested.
I've been fortunate to work with good directors who understand improvisation and understand the way comedians work. Luke Basan let me do my thing like do what you feel and take the character to another level. Quentin Tarrantino was more of an acting coach. He can teach you beats and then hell say go with it but give this feeling. So I've been fortunate to work with good, seasoned directors.
Blade Runner is a rare science fiction movie so full of material that pages can be written about it without scratching the surface. A review like this can provide little more than an overview. A detailed exploration of the movie, its style, and its mysteries requires dedication that only someone immersed in Blade Runner lore can provide.
The greats are 'The Shining', 'Rosemary's Baby', 'Don't Look Now', 'The Exorcist' - those movies were not really slashers: they were about psychological terror and had very deep emotional backdrops. If we do our best, '6 Miranda Drive' can be that kind of a movie.
We never know about anybody else's relationship and how they work - particularly the ones that work for a really, really long time. I was going to say only the people in it, but often, not even they understand how it works.
The thing about theater that always and still kind of makes me edgy is that you work and work and work and work, and then you're just in performance mode, and then you have to just be on; the work is done, and then you just have to do it over and over again, so you're just constantly at that performance level.
Running is a huge category for us. To be able to run to work and have lightweight, breathable, windproof materials you can chuck in your bag that work on technical level but also on a lifestyle level are really important to me. I work out - and I think most people do - and I want to encourage women and inspire them in a way that fits in with their lifestyle.
When I work, I work very hard. So I look to work with people who have that level of dedication. And I depend on that from everyone. From the director to my crews that I work with.
Sometimes things aren't a dream because you don't really think it's a possibility. So my goal on a daily basis is just to go to work and be someone that people like to be around. I just want to work hard and be nice to people, and I feel like when you touch people in that way, on a more personal level, then they go to work the next day pushing for you. And that's when an opportunity comes that you wouldn't have even expected otherwise.
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