A Quote by Lasse Hallstrom
I think I avoid stepping into sentimentality by trying to be as truthful as possible with performances.
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In film, it's very important to not allow yourself to get sentimental, which, being British, I try to avoid. People sometimes regard sentimentality as emotion. It is not. Sentimentality is unearned emotion.
It's interesting trying to make something as truthful as possible, but playing someone who is still alive is quite a weird thing.
Of cases where a man is truthful both in speech and conduct when no considerations of honesty come in, from an habitual sincerity of disposition. Such sincerity may be esteemed a moral excellence; for the lover of truth, who is truthful even when nothing depends on it, will a fortiori be truthful when some interest is at stake, since having all along avoided falsehood for its own sake, he will assuredly avoid it when it is morally base; and this is a disposition that we praise.
It would be very easy to drool with sentimentality over the Ryder Cup. But, at the end of the day, it is simply two teams trying to knock seven bells out of each other, in the nicest possible way.
British culture is very cynical sometimes of overt displays of sentimentality, and I think that becomes almost a suspicion of emotion, or a suspicion of someone making a grand statement. It is always easier to be ironic, or 'meta', or coolly postmodern. But I think there is such a thing as authentic sentimentality.
Theoretically the human is supposed to be the smart one so as you get acquainted with the horse, you explore what it's going to take for him to understand what you would like him do, with as little trouble as possible. You're trying to avoid conflict, not trying to create it.
A lot of the people I'm working with are not actors, or it's their first time in a movie. I'm not trying to shape performances, coax performances out of them. It's more like I want to put them in situations that naturally work or allow them to be themselves. If it's not happening, I'll just completely switch it up, rather than trying to make it work.
Nothing beats a good tan, but I've also been trying to avoid sun exposure on my face as much as possible.
I think we get on with living our lives like everybody else does. Where we're at in music is trying to explain what's going around us either directly or by analogy and trying to create a parallel, an analog, sometimes musical, sometimes dramatic, that might be truthful.
I avoid literature whenever possible, because whenever possible I avoid myself.
As far as the environment is concerned, I am becoming pessimistic because I do not see anybody stepping up and taking the long view approach. It seems like we're stuck in a tragedy of the commons where everyone is trying to contribute as little as possible to get out of this situation.
I think acoustic performances and full, live performances are always cool in different ways.
I feel like I need just to keep trying to make the work for the right reasons. I think part of that is working with really good people, and just trying to make strong truthful work. And not being diverted from that.
We should seek by all means in our power to avoid war, by analysing possible causes, by trying to remove them, by discussion in a spirit of collaboration and good will.
I used to think of deathlike I suppose soldiers think of it: it was a possible thing that I could well avoid by my skill.
When I meet someone who I really admire, I enjoy nothing more than trying to connect with them and asking them about their career. I want to know who the people are behind the performances and how they relate to their performances. But it's maybe not as novel as it once was.
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