A Quote by Lars von Trier
It’s the opening of Manderlay in Cannes, and I’m sitting next to this guy who’s writing for a tiny fictitious French paper called ‘On the Sunny Side,’ and he’s writing a review on the film, and he’s obviously bored. Then he tells me about all the cars he owns, and how rich he is, and all these things... So, at a certain point, he says, "So what do you do?" Then I take out this very strange hammer we have in the Danish building business, and I say, "I kill." And then I kill him. It is as stupid as it sounds.
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If you become very self-conscious about what you are doing, you kill. You kill the character. Then it doesn't work. You have to come from a sincere place. And you don't think too much. I don't go to the hotel and I start thinking what am I going to say tomorrow and start writing things down.
My parents told me they were going to kill me at least a thousand times growing up. "I'm gonna kill you," and then they'd whack me on the side of the head or whatever. And "What's wrong with you?" And "I'm gonna lock you up," and "I'm gonna throw you out the window," and "I'm gonna kill you." You know, all these things that you say in the heat of a normal chaotic household.
The most interesting thing about writing is the way that it obliterates time. Three hours seem like three minutes. Then there is the business of surprise. I never know what is coming next. The phrase that sounds in the head changes when it appears on the page. Then I start probing it with a pen, finding new meanings. Sometimes I burst out laughing at what is happening as I twist and turn sentences. Strange business, all in all. One never gets to the end of it. That’s why I go on, I suppose. To see what the next sentences I write will be.
Writing a book is an adventure. To begin with it is a toy and an amusement. Then it becomes a mistress, then it becomes a master, then it becomes a tyrant. The last phase is that just as you are about to be reconciled to your servitude, you kill the monster and fling him to the public.
I'm tempted to say, 'Writing treatments is like designing a film by hiring six million monkeys to tear out pages of an encyclopedia, then you put the pages through a paper-shredder, randomly grab whatever intact lines are left, sing them in Italian to a Spanish deaf-mute, and then make story decisions with the guy via conference call.' But no... compared to writing treatments, that makes sense, too.
A guy's calling to say he's failing algebra II. Just as a point of practice, I say, Kill yourself. A woman calls and says her kids won't behave. Without missing a beat, I tell her, Kill yourself. A man calls to say his car won't start. Kill yourself. A woman calls to ask what time the late movie starts. Kill yourself. She asks, "Isn't this 555-1327? Is this the Moorehouse CinePlex? I say, Kill yourself. Kill yourself. Kill yourself.
If you are strong and fighting the weak, then if you kill your opponent then you are a scoundrel... if you let him kill you, then you are an idiot.
I start out to write five days a week, and then it runs to six days and finally seven. Then, eventually, that wave of weariness overwhelms me and I don't know what's the matter. That is, I know but I won't admit it. I'm just tired from writing. As you get older, writing becomes harder. By that I mean you see so many more potentialities. Things like transition used to trouble me. But not any more. When I say it's harder, I'm not talking about facility. You learn all the so-called tricks, but then you don't want to use them.
I just love storytelling. I write music to tell stories. So when I'm done writing a song, I take it and go, 'Okay. How can I interpret these lyrics differently?' I love taking lyrics that were so close to me at a certain point in my life and then revamping them. I always want to take things to the next level.
I do a real analysis of who actually owns things - it’s the British…the Dutch…then it’s the Arabs…then it’s the French…then it’s the Jews…and then, on down the line.
Any time you demonstrate against segregation and a man has the audacity to put a police dog on you, kill that dog, kill him, I'm telling you, kill that dog. I say it if they put me in jail tomorrow, kill that dog. Then you'll put a stop to it.
At the time, we were mad at Moammar Gadhafi, which resulted in us bombing all over Libya and killing a bunch of people, but not him. Then Ronald Reagan gets up and says we're not trying to kill him, we're just dropping bombs. You can kill all the Libyans you want, but legally you can't try to kill the leader.
If you are strong and fighting the weak, then if you kill your opponent, then you are a scoundrel... if you let him kill you, then you are an idiot. So here is a dilemma which others have suffered before us, and for which as far as I can see, there is simply no escape.
Making playlists can kill a whole afternoon for me. I like building very specific playlists for new writing projects. In a strange way, choosing certain songs is part of the process of plotting the book out. I pick songs that I think with resonate with characters, their personality quirks, relationship dynamics, action scenes, and so on.
What can you think when one review says "this album is brilliant, and all the songs flow into the utmost brilliant song 'The Upside-Down Cross'" then another review says "this album is brilliant, except for that horrible and pointless song 'The Upside-Down Cross'," and another review will say "Jeffrey really sounds confident and relaxed on this new album", the next reviewer says "Jeffrey sounds more depressed and awful than ever" - these totally contrasting reviews happen all the time!
Writing a film is like building a brick wall. You have a plan, and you have the blocks. Then, somebody says, 'I think we'll take this stone out of here and put it over there. And while we're at it, let's make this stone red and that stone green.'
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