A Quote by Jean-Marc Vallee
I'm a writer and director, and I like to do that, but for some reason, it's become part of the industry and part of the job to go, 'Alright, let's talk about it!'
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If we do change anything, we always talk about it beforehand. It's not really fair to throw things at the director on the day, unless it's a small note such as re-phrasing something. But if it's large, we always talk to the director. But we seldom do that out of respect for the writers because, for the most part, they do such a great job.
If you look for instance at the automobile industry, part of the reason that you have the expansion of that sector, is precisely because we have gone out to talk to the automobile companies to explain government policy with regard to that sector, to talk to them about the MIDP and things like that. And indeed, it has been a very important part of attracting those investors to put in money in the South African economy and build motorcars in South Africa.
Part of the reason why so many actors lose the plot when they go over to America is that they become part of an industry, so that's why they don't want to play weak, bad or vulnerable guys - because that's not sellable; that diminishes their profit margin.
This is not a tough job. You read a script. If you like the part and the money is O.K., you do it. Then you remember your lines. You show up on time. You do what the director tells you to do. When you finish, you rest and then go on to the next part. That's it.
There is something elegantly sinister about the Rolling Stones. They sit before you at a press conference like five unfolding switchblades; their faces set in rehearsed snarls; their hair studiously unkempt and matted; their clothes part of some private conceit; and the way they walk and talk and the songs they sing all become part of some long mean reach for the jugular.
I really hope that I can be as good as some people think I can be. But I may never work again... and that's the reality of the film industry. So, it's nice but I wouldn't want to go into something feeing like I needed to prove that I was good enough to be there. Maybe in some ways, it makes me think: "Do you know what? Some people think I'm alright, so maybe I should go into a job thinking I'm not rubbish." But I don't really think about it.
This is many, many years ago. It was shortly after "Starman" I think. I don't know how close I was to getting the part. I met with [director] Penny Marshall and that's one that I knew would be a hit. It just felt hit-ish. But it's like you go to a store and you see a jacket and you go "I love that jacket" and you try it on and it's too big or too small for you and it's the only one they have. For some reason that part just didn't fit me.
Every part I've done has been for one reason or another-money, or the part, or the director, or the location. I'd like to get one thing that's all of those combined.
Then you learn about composition, you learn about old masters, you form certain ideas about structure. But the inhuman activity of trying to make some kind of jump or leap, where , the painting is always saying, 'What do you want from me? I can only be a painting.' You have to go from part to part, but you shouldn't see yourself go from part to part, that's the whole point.
People think it's not necessary to talk to another human being, and that's the part of it that I don't like. Some people will go up and want to talk to you about the music, which is cool; they're enthusiastic about the songs and know stuff about it, or, 'I really like your music. Nice to meet you.'
Casting, to me, is always the same. It's a very important part of a director's job. I pick people that I sense I'd like to be in a room with and will enjoy the rehearsal process with because that's the best part.
In some instances, I would say the writer does deserve equal billing with the director. In other instances the director - especially if he wrote part of the script himself - is clearly more the author of the movie.
Every time I make a new record, some of my existing fans are going to like it, and some are not. It's inevitable, and it's part of the deal. It's part of the job description.
Part of the reason why we're only now reaching a point in American society where we can talk about the need for truth and reconciliation and the legacy of slavery is that it was such a dominant part of our history.
Celebrity is titillating for a million reasons, right? So I think that's a fun part of it. This job that we do is weird. It's a very specific, odd industry to be a part of on many levels. When you're starting out, it's got a series of interesting quirks. And as you become more successful those quirks just change.
I'm part of an industry that everybody wants to be a part of. I do hang out with a lot of sort of powerful, interesting people like Bella Freud or Jay Joplin or Tracey Emin. I'm part of that group of people. Brit artists who are doing things. That's what I do. Some of them happen to be aristocrats.
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