A Quote by Noomi Rapace
Some directors can tell stories and it becomes very intimate and small, and it's almost like a secret. Some directors have the gift of finding a way to show it and tell the story, in a way that brings in the audience.
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Actually, I met a lot of directors and most of them have that fantasy to make a silent movie because for directors it's the purest way to tell a story. It's about creating images that tell a story and you don't need dialogue for that.
I want to work with directors who can tell intimate stories in a way that feels universal and with a big enough scope and depth to travel outside of Iceland.
Some directors are very free and some directors are very specific. It seemed like doing a play.
There are a million ideas in a world of stories. Humans are storytelling animals. Everything's a story, everyone's got stories, we're perceiving stories, we're interested in stories. So to me, the big nut to crack is to how to tell a story, what's the right way to tell a particular story.
One thing that's really pulled me in to helping artists create their album is that I get to help them tell a story. It's about the way you frame that story and finding the best way to tell that story.
All men lie when they are afraid. Some tell many lies, some but a few. Some have only one great lie they tell so often that they almost come to believe it... though some small part of them will always know that it is still a lie, and that will show upon their faces. (a servant in the House of Black and White)
I believe in the complexity of the human story, and that there's no way you can tell that story in one way and say, 'this is it.' Always there will be someone who can tell it differently depending on where they are standing ... this is the way I think the world's stories should be told: from many different perspectives.
When directors tell me they want a song like one, I tell them no song should be like another. I don't listen to directors.
There are many directors in the middle range who've made mostly successful pictures, and then there are a few great directors who've had some successes and some failures. I suppose my life would be smoother if I wasn't almost totally enamored of the latter category.
I watched a lot of silent directors who were absolutely great like John Ford and Fritz Lang, Tod Browning, and also some very modern directors like The Coen Brothers. The directors take the freedom within their own movies to be melodramatic or funny when they chose to be. They do whatever they want and they don't care about the genre.
I don't tell a story unless I have a very deep bench. If you tell an idiosyncratic story, there's no resonance. People read it and say, "I don't see anyone like that." So I tell a story only when I have many stories behind it.
I owe a lot to my time on 'House of Cards' because, up until I booked that show, I had been working consistently for 12 years, but I wasn't working on anything that mattered in the way 'House of Cards' did to its audience, to casting directors, to directors and producers. The show hit this sweet spot.
What I think is great about Pippin, specifically, and I wouldn't make this generalization about all musicals, is that it is about how we tell stories and the way stories are very subjective. How we tell some things and leave other things out in the way The Princess Bride is or The Wizard of Oz is, which both have a framing device.
As directors, we get very stuck on the stories we want to tell.
All directors are storytellers, so the motivation was to tell the story I wanted to tell. That's what I love.
I love to tell stories and I love to work with directors and I think I write really visually, which I think directors like, and I love making movies, so I found something that I'm good at and I'm really happy doing.
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