A Quote by Lasse Hallstrom

My films do have characters who have trouble escaping the world around them. — © Lasse Hallstrom
My films do have characters who have trouble escaping the world around them.
Would the world ever have been made if its maker had been afraid of making trouble?Making life means making trouble. There’s only one way of escaping trouble; and that’s killing things.
The life story of the five main characters and the secondary characters around them allows Jonathan Franzen to present the full impetus and extent of the world picture of the West at the end of the 20th century.
Fantasy is escapism, but wait... Why is this wrong? What are you escaping from, and where are you escaping to? Is the story opening windows or slamming doors? The British author G.K. Chesterton summarized the role of fantasy very well. He said its purpose was to take the everyday, commonplace world and lift it up and turn it around and show it to us from a different perspective, so that once again we see it for the first time and realize how marvelous it is. Fantasy - the ability to envisage the world in many different ways - is one of the skills that make us human.
There are characters in movies who I call 'film characters.' They don't exist in real life. They exist to play out a scenario. They can be in fantastic films, but they are not real characters; what happens to them is not lifelike.
All my main characters are people I'd love to sit around having coffee with. They are people who will tell you honestly about the things that scare them and worry them and trouble them. Because those moments of connection between women-when they really decide to be honest with each other about their lives-are some of the best things in life.
I don't use recurring characters. I do get very interested my characters while I'm working with them, and I find the process of fitting them into a story, and allowing them to create the story around themselves, fascinating. But no, I don't imagine they have a life outside of what I make for them.
We have to give our poor, innocent, and undeserving-of-our-badness characters trouble in order to make them characters in a story.
Try to get your characters into interesting trouble. Allow your characters to misbehave. Let them stay out after 11.
I am probably the only actor who came from television serials to films and was able to work in films this long. Of the 75-odd films I've done, in around 40 of them, I've been the hero.
What most of us must be involved in--whether we teach or write, make films, write films, direct films, play music, act, whatever we do--has to not only make people feel good and inspired and at one with other people around them, but also has to educate a new generation to do this very modest thing: change the world.
You definitely do not do films for that particular reason. You do them for yourself, for your satisfaction of creating this thing with characters and watching these characters take on real life - that's all you care about.
My characters are not underachievers; they aspire to great things, but they are limited by the world around them.
I feel my fuller-bodied characters are all in the independent films I do, and in the studio productions, I have to work harder to dimensionalize the characters. And that's certainly part of the job description of an actor - that's what you're supposed to do - but you have to work harder at it in the characters that I've encountered in studio films.
Escaping into a film is not like escaping into a book. Books force you to give something back to them, to exercise your intelligence and imagination, where as you can watch a film-and even enjoy it-in a state of mindless passivity.
Meditation is nothing but coming to terms with your inner emptiness: recognizing it, not escaping; living through it, not escaping; being through it, not escaping. Then suddenly the emptiness becomes the fullness of life.
The real test of a bridge player isn’t in keeping out of trouble, but in escaping once he’s in.
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