A Quote by Naomi Watts
I've done a few remakes now, as you know. And my philosophy is, you see the original film once, and that's it. You have to do whatever you can to shut it out, because you don't want your performance to be tainted. You don't want to fall into the trap of comparisons, basically.
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Sometimes you just wanna go out, see your action movie, be done with it, come home. You know, and, like, you see 'The Matrix' or whatever, you see whatever film it is, and you're like, 'Oh cool,' whatever.
What do you want? You can't want to be happy, because that's too easy and too boring. You can't want only to love, because that's impossible. What do you want? You want to justify your life, to live it as intensely as possible. That is at once a trap and a source of ecstasy. Try to be alert to that danger and experience the joy and the adventure of being that woman who is beyond the image reflected in the mirror.
Moving to L.A., I got really into hip-hop and trap music and basically a lot of the sounds you would maybe normally see in a festival, but for whatever reason, I was so involved in vinyl and house at the time, I didn't even know that I liked trap.
I don't care for remakes. There's soooo much undiscovered material out there; old and new. I want to be original.
I know you can't see it, not you, Ed, but maybe if I tell you the whole plot you'll understand it this once, because even now I want you to see it. I don't love you anymore, of course I don't, but there's still something I can show you. You know I want to be a director, but you never truly see the movies in my head and that, Ed, is why we broke up.
You know and I know that as soon as it's done, you have to get it out there. You want what's best for it. And especially in owning a label, which some days is the greatest thing for me and in some days is my demise because you see the truth and the work that goes into things and you see things happen and you see things not happen, and all you want in this world of currency right now is popularity, that's it!
I always put myself in the audience's place and see if, as a viewer, I would want to see the film. If yes, then I want to know who's directing it, what my character is, and if it's impactful. If all these points fall in place, I'll do the film. If not, then I won't think twice before saying no.
After directing awhile, you get an instinct about it, but you have to be able to trust your own feelings. Invariably, two-thirds of the way through a film, you say, "Jeezus, is this a pile of crap! What did I ever see in it in the first place?" You have to shut off your brain and forge ahead, because by that time you're getting so brainwashed. Once I commit myself to a film I commit myself to that ending, whatever the motivations and conclusions are.
Digital photography is, by definition, unfinished. You don't feel that after every 24 or 36 shots you have to change your film - you know you can go on for ever if you want. You can see the result immediately, and find out if your original idea is worth going on with or not, whether it can be corrected, whether it can be improved.
Between now and then and I just felt it was ready and it was a long enough period gone by. I obviously didn't want to hurt anybody, you know. It was done out of a genuine memorial or tribute whatever you want to call it.
Remakes are tricky and I wanted to approach 'Nerkonda Paarvai' as a fresh film. Taapsee and I are different people. Naturally, our understanding of characters won't be the same. Further, I didn't want to be influenced by her performance and I like it that way.
I didn't want to fall into the trap of competing with all these other great guitar players. I just want to sidestep the whole thing and get out of the race.
My general philosophy of playing bad guys, which I've sort of done, you know, half the time is, you know, very few people who we view as bad guys get out of bed and think, 'What evil, terrible thing am I going to do today?' Most people see their motivations as justified - as, you know, justifying whatever they do.
You can get any film now basically for free, and that's where I think the model we're talking about is - if you give people what they want, how they want it and when they want it, they're more likely to pay for it.
I think everything in your life's your own damn fault and that's my simple philosophy in that, and I think you're broke because you want to be just like you're fat because you want to be or stupid because you want to be or unemployed, it must be because you want to be. Otherwise, it'd be different.
I want to be the friend you fall hopelessly in love with. The one you take into your arms and into your bed and into the private world you keep trapped in your head. I want to be that kind of friend. The one who will memorize the things you say as well as the shape of your lips when you say them. I want to know every curve, every freckle, every shiver of your body. I want to know where to touch you, I want to know how to touch you. I want to know convince you to design a smile just for me. Yes, I do want to be your friend. I want to be your best friend in the entire world.
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