A Quote by Josh Radnor
And as a filmmaker, I'm trying to unhook myself from this idea that unless you have a brilliant, long, enormously lucrative theatrical run, that your movie somehow failed. And I don't believe that.
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Big ideas come from the unconscious. This is true in art, in science, and in advertising. But your unconscious has to be well informed, or your idea will be irrelevant. Stuff your conscious mind with information, then unhook your rational thought process. You can help this process by going for a long walk, or taking a hot bath, or drinking half a pint of claret. Suddenly, if the telephone line from your unconscious is open, a big idea wells up within you.
We believe half-instinctively that evil always defeats itself in the long run. Pacifism is founded largely on this belief. Don't resist evil, and it will somehow destroy itself. But why should it? What evidence is there that it does... unless conquered from the outside by military force?
I can't make a movie unless I believe in the themes behind it. I mean, that's the first question I ask myself, always, is, 'What is this movie about?'
The market is a brilliant system for the exchange of goods and services, but it doesn't protect the environment unless it's regulated, it doesn't train your workforce unless it's regulated, and it doesn't give you the long-term investment you want.
It being a remarkable fact in theatrical history, but one long since established beyond dispute, that it is a hopeless endeavor to attract people to a theatre unless they can be first brought to believe that they will never get in.
In a way, the truth is that I was dreaming to do a movie in the United States just because, as a filmmaker, I always loved the idea of trying to make movies in a different culture, in a different way. It's always interesting to make a movie abroad.
I failed eating, failed drinking, failed not cutting myself into shreds. Failed friendship. Failed sisterhood and daughterhood. Failed mirrors and scales and phone calls. Good thing I'm stable.
I'm very aware that the future of any film is not necessarily the theatrical experience, it's the home video experience because that is the one that is going to be presented for years to come. So you want to make sure that you push your movie, but you're talking about a movie that you finished months ago. And your head is trying to move into new grounds and you're still pushing for the other one. That's the tough element of it.
Online is such a brilliant, brilliant way to connect with young readers - even if they just want to tweet, 'Hey, I read your book!' - that, absolutely, I connect with that. But I also treat writing as solitary and keep it to myself as long as I can.
I don't know where my next movie is going to get financed or if it will. I think every filmmaker is probably worried about that, unless their movie made a fortune. My movies make a profit, but obviously not a fortune. So yeah, it's scary.
I am in the theatrical profession myself, my wife is in the theatrical profession, my children are in the theatrical profession.I had a dog that lived and died in it from a puppy; and my chaise-pony goes on, in Timour the Tartar.
I'd like to make mistakes on my own dime and not have a herd of people tell me what I'm doing wrong. and I'm also still trying to find and develop my voice as a filmmaker, and I think that's easier to do on your own terms than trying to satisfy a bunch of people that are paying for the movie.
The very first idea I ever had about making a film... my first thought about ever being a filmmaker was when I was sixteen years old and I wanted to make a Viking movie. And I wanted to make it in old Norse, which I was studying at the time. It's odd because at that age that's a stupidly ridiculous idea 'cause how will I ever be a filmmaker.
I wandered around in a confused daze for most of the '90s unable to even remember why I wanted to be a filmmaker and somehow I found myself at the turn of the century. I used lost film as an excuse to express myself.
The problem with being a film actress or a movie star is that people see you so huge that somehow you're visually massive or somehow you're in some removed space, which is a television or wherever. It somehow takes your humanity.
I want my movies to play in movie theaters. While festivals can fulfill a part of that, there's nothing like getting a week-long run for your movie. It's becoming increasingly difficult to get that.
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