A Quote by Katherine Dunn
It's not unfair, I think, to describe boxers as a demographic little given to literary entanglement. In general, with exceptions, they prefer movies.
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The general public don't like boxers. They prefer tennis players.
Most filmmakers' entire body of knowledge is of other movies. When they describe things, they describe them in relation to other movies. That's why we have so many cyclical movies that look like other movies. But I'm not cynical. I even go to some of those movies.
There are a lot of things that come to bear on movies now that I don't think are good for movies. They're trying to appeal to the biggest demographic and, when they do that, you sometimes flatten out.
I think the biggest thing - and this I think is true of songs but also of movies and books and art in general - is when you have this moment where you hear a song or whatever and you say, "Hey, I've felt that exact way as a human being," and there's no easy way to describe it.
But one of the rules I don't like to break is we still do - 95% of our movies are low budget. We're offered bigger, larger budget movies to produce a lot, and we don't do them. That's not to say there aren't exceptions, there are a few exceptions, but I try and stick by the rules that produce what I think is the highest quality, most innovative work and try and let the rules go that make us feel like we're retreading.
In general, writers shouldn't be killed for what they write, though I can think of exceptions.
We're offered bigger, larger budget movies to produce a lot, and we don't do them. That's not to say there aren't exceptions: there are a few exceptions, but I try and stick by the rules that produce what I think is the highest quality, most innovative work and try and let the rules go that make us feel like we're retreading.
I think it's not an easy task because there's not enough Latino writers that are being given opportunities to write things - and I say this because I've been given a lot of bilingual movies in the past because of my career in Mexico, and they're like, "Oh, it's going to make sense for her to do this." A lot of studios want to hit that demographic, but they sort of do it without starting in the right way, which is having someone who knows the culture, and enjoys the language as well, to be able to write these things.
'Boxers' was more time consuming simply because it was longer, but 'Saints' was definitely harder. I think it's just hard to talk about faith in general.
It's actually kind of cool that women have taken to me. Because now I have a whole different demographic when it comes to the audiences. I have women who come out and support my movies, and that is a huge demographic for me, which is great because some actors don't have a female base at all.
I would have fought in WW2, so I wasn't a pacifist in the broader sense. I prefer to be a pacifist, but I think there are exceptions and times to defend yourself or your country, but that war wasn't one of them.
I don't think writers - in general - ever achieve the fame of movie stars. For the simple reason that only a fraction of the population reads. But I guess there are exceptions.
Pure, hard-core liberals believe in a superior race. They think they're it. They believe they're more intelligent than the general run of mankind, better suited than the little people are to manage the little people's lives. They think they have the one true vision, the ability to solve all the moral dilemmas of the century. They prefer big government because that is the first step to totalitarianism, toward unquestioned rule by the elite. And of course they see themselves as the elite.
Many people say the privatisation was unfair: that is true - it was unfair. That is a fact: some people became rich and others did not. Unfair does not mean illegal, but it was inevitably unfair.
I do think you have sort of a general philosophical approach that you want from a justice, and I think a strict constructionist would be probably the way I'd describe it.
My literary criticism has become less specifically academic. I was really writing literary history in The New Poetic, but my general practice of writing literary criticism is pretty much what it always has been. And there has always been a strong connection between being a writer - I feel as though I know what it feels like inside and I can say I've experienced similar problems and solutions from the inside. And I think that's a great advantage as a critic, because you know what the writer is feeling.
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