A Quote by Kristin Cashore
I've always been led to believe that the ultimate goal for an author is the movie deal. Now I understand that the movie deal is merely a MEANS TO A MUCH HIGHER END: NAIL POLISH.
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I think at the end of the day this movie is respecting what we as women go through as we grow up. The experiences, what we deal with, other women, things about images, things that we deal with as women. This movie addresses that in a very appropriate and sincere way.
I think I take what you might call a B-movie story, deal with B-movie subjects, and I treat it as if it's an A-movie in terms of my approach, my crew, my actors, my ethics and so on. I guess that's my trademark or one of them, anyway!
I think I take what you might call a B-movie story, deal with B-movie subjects, and I treat it as if it's an A-movie in terms of my approach, my crew, my actors, my ethics and so on. I guess that's my trademark or one of them anyway!
I remember Tetro was a big deal to me at that time. It was going from zero to one: Never having been in a movie, a person who had no relationship to any of that, and that was my first movie.
People think I must have been turning cartwheels on the night I sealed the movie deal - which was only two days after sealing the book deal - but I was really quite terrified.
My approach has always been to put 100% into the movie I'm making right now. I think sometimes filmmakers put too much thought into the grand franchise they're going to build. And guess what? If the first movie doesn't work there is no franchise, so I'm always concentrated on making the best, best possible movie right now.
I think at the end of the day this movie is respecting what we as women go through as we grow up. The experiences, what we deal with, other women, things about images, things that we deal with as women.
Every time I do a movie like 'Finding Neverland' or 'Chocolat' or 'Shakespeare' in Love,' we deal with the creative process, but there's humor and fun along the way. I always love that kind of movie.
I have become an enthusiast for the printed word again. I have to be that, I now understand, because I want to be a character in all of my works. I can do that in print. In a movie, somehow, the author always vanishes.
The artist is the lowest form of life on the rung of the ladder. The publishers are usually businessmen who deal with businessmen. They deal with promotional people. They deal with financial people. They deal with accountants. They deal with people who work on higher levels. They deal with tax people, but have absolutely no interest in artists, in individual artists, especially very young artists.
I don't think God cares if I wear nail polish or not. I don't think that's a deal breaker for him.
I always wanted to do a movie that deals with America's horrific past with slavery, but the way I wanted to deal with it is - as opposed to doing it as a huge historical movie with a capital H - I thought it could be better if it was wrapped up in genre.
Even my parents are so cute, and they deal with every movie of mine excellently. They check with me ever so casually by asking 'Now how much of nudity are we going to see in this one?'
Even my parents are so cute, and they deal with every movie of mine excellently. They check with me ever so casually by asking 'Now how much of nudity are we going to see in this one?
It's basically how I choose movie roles. Would I like to see this movie? Is this movie important? Why would I do this? And Headhunters is a movie that I would like to see in the cinema. And when it's sold to 50 countries or whatever, for me it's a great deal. I make movies for an audience so if that audience grows, I feel really honoured and thankful for it.
I do believe very much in movie as a one-man-show. I think that where I've watched movie go wrong, it's usually because the dread committee has been interfering with it.
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