A Quote by Jean-Marc Vallee
I was attached to 'Sharp Objects' before 'Big Little Lies,' actually.
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After I was cast, I decided to read 'Sharp Objects'. I ended up drowning it in sticky notes, highlighter and pen. It became my little diary I could refer to. I took little quotes out of the book and transferred them onto this scrapbook I kept about Amma.
When you talk about objects, one other thing automatically comes attached to that thing, and that is gestures: how we manipulate these objects, how we use these objects in everyday life. We use gestures not only to interact with these objects, but we also use them to interact with each other.
No sane man objects to palpable lies about him; what he objects to is damaging facts.
People think hard sparring will get you sharp. And you do get sharp in the gym. But anytime I've trained that way, I've actually been a little bit flatter in the fight. And the knockout shot hasn't come. It's almost because my training has been too hard.
I think first we have to begin by telling the truth, which I think has actually been a big stumbling block. We can look at Donald Trump and see how he lies, but I think we also have to look at some of the lies we've told ourselves and the lies we've accepted and internalized ourselves.
Transcendence or detachment, leaving the body, pure love, lack of jealousy-that's the vision we are given in our culture, generally, when we think of the highest thing. . . . Another way to look at it is that the aim of the person is not to be detached, but to be more attached-to be attached to working; to be attached to making chairs or something that helps everyone; to be attached to beauty; to be attached to music.
Here lies the sense of literary creation to portray ordinary objects as they will be reflected in kindly mirrors of future times. . . . To find in objects around us the fragrant tenderness that only posterity will discern . . .
'Sharp Objects' is honestly one of my most exciting reading experiences.
In matters of honesty, there are no shortcuts; no little white lies, or big black lies, only the simple, honest truth spoken in total candor... Being true is different than being honest.
But the difference between the little pieces and the big pieces - I'm not actually sure which are the little pieces. With some of the big pieces, it's a lot of musical running around, whereas the little pieces, you can say everything you want to say.
The reason [drummers] call things "unison", and they sound unison, is because you actually play two different tempos . . . like you're a little sharp, or a little flat; it's so slight that they call it "unison", but it's not unison.
Well," I said. "If you need me, I'll be outside, playing with sharp objects.
I love 'Gone Girl,' so bringing 'Sharp Objects' to life, that was amazing.
The way that light hits objects in life, three-dimensional objects before you photograph them, is really the story of photography.
Many painters had a clear idea of what fractals are. Take a French classic painter named Poussin. Now, he painted beautiful landscapes, completely artificial ones, imaginary landscapes. And how did he choose them? Well, he had the balance of trees, of lawns, of houses in the distance. He had a balance of small objects, big objects, big trees in front and his balance of objects at every scale is what gives to Poussin a special feeling.
Try to forget what objects you have before you - a tree, a house, a field, or whatever. Merely think, 'Here is a little square of blue, here an oblong of pink, here a streak of yellow,' and paint it just as it looks to you, the exact color and shape, until it gives you your own impression of the scene before you.
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