A Quote by Joaquin Phoenix
In most films - especially in regards to the protagonist - really from the get-go they set up some scenario that endears that character to the audience. Or imbues him with some nobility or heroism or something.
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On the other hand, heroism is basic to the character of the Nordic peoples. This heroism of the ancient mythic period and this is what is decisive has never been lost, despite times of decline, so long as the Nordic blood was still alive. Heroism, in fact, took many forms, from the warrior nobility of Siegfried or Hercules to the intellectual nobility of Copernicus and Leonardo , the religious nobility of Eckehart and Lagarde, or the political nobility of Frederick the Great and Bismarck , and its substance has remained the same.
I think auditions are set up for failure because they're not really the set experience. There's no time to develop the character. You're just looking at someone... if someone's really good in an audition, sometimes they're not good in the film. It's something you learn when you're doing short films. It's the same way that some people do well at taking tests and some people don't. But when you're on a long-term filmmaking process it's a completely different feeling.
Also, getting the chance to play a supporting part meant that I didn't have to do as much as the protagonist, such as running around telling the story. [As the protagonist] you push the story whereas, paradoxically, as a character part, you have a chance to explore some of the nuance and some of the more complicated aspects of a character.
Heroism is not fighting some big battle. It is not standing up to some fearsome foe ... Heroism is every day getting up with a mission to show this world that you are going to light it up with your spirit, to make the best out of yourself.
Some films really do take years to get going, but I'd say that most of the films I want to do are slightly smaller projects. Some could be sketches. They're not all oil paintings.
As a writer, every time I create a character, I try to go for something to captivate the audience in some way. It's also an extension of how the audience would like to see themselves.
Even if you make a movie about a criminal locked up in prison, you may not support him as a criminal, but you have to like him on some level. You have to love your protagonist and respect him. He will only open his heart to you when he believes that you are treating him with respect, with love. Only then will there be no more walls between the filmmaker and the protagonist.
Some films go so well, and some films are disappointing. It's the beauty of the craft. You get it right, and you get it wrong. You have tremendous highs, and you have tremendous lows. Hopefully, you learn from them and become better, as you go along.
In some ways, every character we write, especially the protagonist, is some version of ourselves, as a writer/director, even if they aren't the same gender.
All I wanted to do was be a professional film director with a body of work, and you're going to make some good films, some bad and some indifferent. You don't set out to make a dog, you set out to make something good. But I like them all.
I think it would be self-indulgent to go, "Oh, I'm going to make this character different by giving him a quirk of some kind." I don't think that serves the story, particularly. But even very similar scenes with a different set of actors, a different set of circumstances, it starts to evolve as a different character.
Some go to church to take a walk; some go there to laugh and talk. Some go there to meet a friend; some go there their time to spend. Some go there to meet a lover; some go there a fault to cover. Some go there for speculation; some go there for observation. Some go there to doze and nod; the wise go there to worship God.
I normally get up around 8:30. I'll have a little something to eat. Just some avocado toast or some cereal or something. Or sometimes just a protein shake when I get up and then I'll go in my gym.
Certain jobs [films] are for the business really, because they get an audience, they get a global audience. Certain jobs are as an artist. If I can keep moving forward and strike some form of balance between them two, then I'm going to feel content.
When I first heard 'A Christmas Story, the musical,' I thought, Oh, that could be really good. It just felt like it fit. Some films lend themselves well to other formats, some don't, but there are so many fantasy sequences in the film, and Ralphie's such a dreamer as a character, I thought they could really lend themselves to being set pieces.
I feel that so many sci-fi films and films in general have just become really dependent on and addicted to CGI, and that some of the big CGI films of the summer, you see these effects that look like crap. You don't know if you're watching a cartoon or something that's real. And I didn't want to fall into that trap. I really thought there was a way to use a lot of these old techniques to do some new and really neat stuff.
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