A Quote by Patricia Clarkson

At the core, I am an actress. And I think, in a way, that's a good thing in that I am, I think, empathetic and sympathetic to the film. I would never pretend to have the discerning and acute critical eye that a lot of the great critics in our business do have. I don't look at it as being a critic or placing a judgment on a film, and I do think, how do you decide which film is best anyway? It's always a little bit of a mixed bag. But, I think it is just a collective group of people coming together to honor the work of an artist - that's how I think of it.
To spend any time with someone who is among the top five film composers of the last 50 years is pure gold dust. I mean, not necessarily stylistically, because everyone is different in what their music sounds like, but the approach and how to look at a film, how to think about a film, how to decide what you want to do, how to think about characters, how to think about art, how to think about narrative, how to liaise with producers, how to liaise with directors.
When we make a film like 'TWM Returns,' it is important that we don't think of bettering anything. It's like a baby being born: all you can hope for is the best. But you can't decide how the baby is going to look. Similarly with the movie - you can't think of making it better; you only can think of making the best film possible.
I would say, while I think audiences are savvy enough, I think that the effects work in the teaser is quite a bit more than presentable. I think they look good and representative of the film. The harder thing with the teaser, interestingly enough is, how much to show.
I think a lot of people don't wear their hearts on their sleeves. I think people should, but a lot of people don't. People may be a bit taken back sometimes about how honest I am and how open I am. But I'm happier this way - it's a good thing for me.
I love film and I love the film business. And I don't think there's any better way, with my personality, than being a producer which is a little bit of a control freak.
My best film is always my next film. I couldn't make Chungking Express now, because of the way I live and drink I've forgotten how I did it. I don't believe in film school or film theory. Just try and get in there and make the bloody film, do good work and be with people you love.
When you're watching, I find two things happen. You either watch a film and it's really good and then you think, "Why can't I do that?" Or you watch a film and it's not good, and you think, "Why am I doing this?" So either way, it feels like being at work.
I really ought to try and make a film that's a bit more cynical. But I don't think I'd know how to do it. I think what it is, is that if you're a film director, you're basically there because you enjoy manipulating people's emotions.
When filmmakers are kept from making films, there's a lot of different reasons why. Sometimes you work on a film and cast it and do all the work and can be just a month away from shooting, and all of a sudden, the whole thing goes up in smoke. But I do think the advent of a digital revolution is going to provide people with opportunities to make films that they never would have had before. I think you can do some pretty credible stuff now with very, very little money. Which I think is great for young filmmakers.
I think it's a fascinating thing to see how lonely people are in this world and what they're looking for. It's a universal concept. So, it's something that interests me and I'll probably revisit it if I get the chance to do the child soldier film because I think it's one of the most important scripts I've written. It's just too dark to do as a film right now. I need to do something a bit different.
I think the best work of the director is to listen to what all the technicians around him have to say, but then the thing is to take the best decision, what you think is the best. Then, that is the moment where you have to have all the film in your head and imagine how all of that will fit together.
It's a shame how a lot of actors use theater as a stepping stone to film and television work; I think it shouldn't be treated that way. Maybe it's narcissism or something. I think we should always go back to it. I try and do a play a year, and I think that's really helped me.
I think personally that every actress should do a little film. Even a short film. And all directors should act, to know how difficult it is also the other way around.
It's ludicrous to think people work for you: 'a film by...' doesn't exist. Directed by, maybe, but it's a film from a collective, a group of people whom you consult and seek your counsel and advice and vice versa, too.
The film I think was a good film for what it was designed for. It was for kids. Unfortunately the critics slashed it before it even started but that is just the way the cookie crumbles.
You know, in an ideal world, people would just be intrigued and go and see a film without knowing anything about it, because that's where you're going to have the most experience of a film, the biggest, the most revelation of a film. But at the same time, I think there are benefits of having seen a trailer where you actually look forward to seeing moments in a film knowing that they're coming up. I don't know which is better.
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