A Quote by Laura Ziskin
What's great about making movies is the sort of additive process of bringing people together and having an idea and watching the idea be added to and at the end you have this thing. It's really a collaborative experience.
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It's the disease of thinking that a having a great idea is really 90% of the work. And if you just tell people, 'here's this great idea,' then of course they can go off and make it happen. The problem with that is that there's a tremendous amount of craftsmanship between a having a great idea and having a great product.
I like the idea of bringing people together and making great entertainment.
I love putting things together. I love putting together a team and making stuff with people. It's great, that's what's cool about movies it's such a collaborative effort.
I've always drawn a lot. I like the idea of turning a 2-D sketch into a 3-D thing very quickly. And clothing is really good for that. You can draw an idea in the morning and you can see it by the end of the day. I think if it were something like a four-month process to get from the idea to the final thing, I would get quite bored.
That's what I like about the idea of the aesthetic experience, the idea of both enjoying looking at works of art and how they kind of talk to you, and also the process of making art, getting back to that idea of the aesthetic experience of making art is very important, It's another way of thinking. Instead of just using your brain, you're using your hands to think with. They're different connections, the brain that comes through the fingertips as opposed that comes through the eyes and ears.
I am a huge fan of movies. It is my favorite thing during downtime. I get completely lost in films. I find them transformative, even one that seems light and popcorn. I get something profound with the right music played with what I am watching. If there is good cinematography and good acting you can find something that really stays with you. I really enjoy being part of that collaborative process. I like making something really big that will be seen in a theater by a lot of people. There is nothing like it.
When you really study espionage movies, or spy movies, the beginnings are really set up to have, like, an amazing bit of action, but at the moment you're watching it, you have no idea why or what it's about.
The great thing about movies is that they're collaborative. And the worst thing is that they're collaborative.
I don't really have a method or a technical process. I studied [Sanford] Meisner, and that's the thing that really works for me. That sort of instinctual, in the moment, what the other actors do, working off them and letting the story unfold, as opposed to having an idea of what the story should be.
I like the idea of making films about ostensibly absolutely nothing. I like the irrelevant, the tangential, the sidebar excursion to nowhere that suddenly becomes revelatory. That's what all my movies are about. That and the idea that we're in possession of certainty, truth, infallible knowledge, when actually we're just a bunch of apes running around. My films are about people who think they're connected to something, although they're really not.
I've always seen process of crafting as part of the thinking process. It really forms the gestation of the work. I'll get an idea; I want to express this idea, sometimes I'll start it, but during the process of making the object - if it's an object or a painting - it changes. It never goes in a linear progression from A to Zed. It's always this kind of circuitous, stumbling, groping in the dark kind of process of evolving.
A social entrepreneur is somebody who knows how to make an idea reality, and one of the great ideas of our time is pluralism. Can people from different backgrounds live together in mutual peace and loyalty? And what we need is a generation of young social entrepreneurs who know how to make that great idea reality in an historical moment where religious extremists are, frankly, making their idea reality.
I really challenge every actor at the beginning of a process, and I always say, 'I have an idea that I'm going to bring to the table. I hope and expect that you will have an idea and bring it to the table. But the way I really want to work is that together we're going to have a third idea that is better than either of our ideas.'
No-one really feels self-confident deep down because it's an artificial idea. Really, people aren't that worried about what you're doing or what you're saying, so you can drift around the world relatively anonymously: you must not feel persecuted and examined. Liberate yourself from that idea that people are watching you.
[Photographer Julian Wasser] had this great idea that I should play chess naked with Marcel Duchamp and it seem to be such a great idea that it was just like the best idea I'd ever heard in my life. It was like a great idea. I mean, it was - Not only was it vengeance, it was art, and it was, like, a great idea. And even if it didn't get any vengeance, it would still turn out okay with me because, you know, I would be sort of immortalized.
Nobody that I know really likes the feeling of having no power and not being able to influence people. But most of us aren't too conscious of what we are trying to do and get that control and that power so people end up sort of playing all kinds of unconscious manipulative games or they're sort of half aware, they have an idea of a strategy or goal they want to use and they think about it. But then in the heat of the moment, it kind of all flies out the window.
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