A Quote by Martin McDonagh
It's like two years straight out of your life doing a film. It's very enjoyable, especially working with the guys, but I kind of like the idea of traveling and growing, and developing as a writer and as a filmmaker.
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I like traveling and I like not being part of the film world. Especially when you're in the middle of a junket, you're thinking, "I'm not doing this again for four years!"That's about taking time and finding the right story and being in a happy place in life where you can joyfully tell a story. I'm not really into the fame side of things, so I'm very happy with making a film every four years or so.
Well, there's two things I have criteria for doing a film: The script, which is the story, and the filmmaker, and it's a filmmaker's medium. I like really strong directors, and so when I do a film, I'm out there to serve the director, really, which is in turn to serve the script, to serve the director cause he's the one making the film. I relied on Todd Haynes for that.
When you decide 'to be a writer,' you don't have the faintest idea of what the work is like. When you begin, you write spontaneously out of your limited experience of both the unwritten world and the written world. You're full of naïve exuberance. 'I am a writer!' Rather like the excitement of 'I have a lover!' But working at it nearly every day for fifty years ? whether it is being the writer or being the lover ? turns out to be an extremely taxing job and hardly the pleasantest of human activities.
We didn't set out to make some polemic about life in the digital age, I can only react emotionally to story ideas. You hear an idea and you go, 'That's cool. I can see spending a few years of my life working on that.' As a filmmaker, you approach it like, 'OK. They're going to give you all this money to make this movie. It's like an electric train set you get to play with.'
The idea of an animated film is you always kind of get a little bit daunted by it as a filmmaker because it feels like a lot of your communication is going to be with computer artists, and you're going to have to kind of channel the movie through extra pairs of hands.
It's Steven's [Sebring] view of what he saw in traveling and working with me. But on another scale, I think the film [Dream of Life] is very humanistic: It touches on motherhood, death, birth, art, laundry, anger against the Bush administration... While I don't think it's the kind of film where one goes to find some of the darker, edgier aspects of life, the film was born of grief.
It was very much about performances, the whole ensemble thing was just great - everybody working together. Sometimes it didn't feel like a film set. It wasn't technically driven, it was very, very enjoyable.
It was very much about performances, the whole ensemble thing was just great - everybody working together. Sometimes it didn't feel like a film set. It wasn't technically driven, it was very, very enjoyable
I do like the idea of doing something different, maybe doing something that's more like a genre film. And there are certain actors that I'd like to work with that would go along with working with a bigger budget.
I remember being like, 12 years old, and this was in the days before cell phones, or at least, having a cell phone. Some girls, I can't even remember who they said they were, called and said they had a crush on me. But it turned out to be a prank, and I thought that was just straight up nasty, you know what I'm saying? You're just sort of developing. You're insecure, your bones are growing... you have trouble sleeping. And all of a sudden, someone's pranking you on top of that? It's tough growing up.
Work addiction seems to be an addiction we are proud of. We almost seem to brag with mock displeasure that we are "overwhelmed" with busyness, sometimes as an excuse for not really being able to do what we really want to be doing. Work addiction is a symptom not of working your brains out but of your brain working you out. Why are you doing what you're doing for a career and how do you like doing it? Do you like your answer?
I went to film school when I was 17, and of course when you are very young you think that there is nothing else in the world except film. At some point I started getting hungry to see something else. For five years I didn't make any films, I was traveling around the world, writing for newspapers, working in theater, working in opera, I thought I would never return to film.
My heroes are guys like Frank Capra and Elia Kazan and Coen brothers and Terry Gilliam, more so than a lot of bass players at this point in my life. So I've always been an old-film nut and have very much enjoyed doing videos over the years.
I have had a very singular kind of life since I started working so young, so I am very used to traveling, working, taking time for myself.
I'm not very good at sounding like other people. When you're going through your 20's and trying to get a break and that kind of thing, and you're trying to do something that sounds like film music, your idea of what it would be, it never really worked out for me and it's only really when I learned to trust the fact that I could only really sound like me.
I feel like people with their camera phones and Twitter and Facebook, this kind of question like, 'How can I be present and also document my presence or document what I'm doing?' is something that's always on my mind, even when I'm not working as a filmmaker.
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