A Quote by Petra Haden
I like things that start depressing and dark and end up romantic, and that's what I really loved about 'King Kong.'
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I like things that start depressing and dark and end up romantic, and thats what I really loved about King Kong.
I like to write about things that are dark or twisted. Where the poetry seems to be is when you start in the dark and reach for the light - that's what makes it not depressing to me.
For me, I'm a fan of really dark, depressing stuff. Even something like The Wire, which can be hugely depressing and really serious, the bits I always remember are the jokes, you know?
To me "King Kong" is a metaphor for America's fear of the black male. And to me that's obvious. All right? So I mean that was one of the first things I said when I was talking to a friend of mine after he saw Peter Jackson's version of "King Kong."
I've always loved King Kong. He's like a modern-day myth, an icon of the cinema.
I always loved movies like 'King Kong' and 'Planet of the Apes,' monster movies, Ray Harryhausen films, all of that stuff. I always loved the music in them, too.
I mean, of course "King Kong" is a metaphor for the slave trade. I'm not saying the makers of "King Kong" meant it to be that way, but that's what, that's the movie that they made - whether they meant to make it or not.
I find 'Fatal Attraction' really romantic. I really like the seduction. Almost every time I see it, I'm surprised when it goes dark. I know that's the claim to fame, but I key into how genuinely romantic it is.
It is a curious thing, the death of a loved one. We all know that our time in this world is limited, and that eventually all of us will end up underneath some sheet, never to wake up. And yet it is always a surprise when it happens to someone we know. It is like walking up the stairs to your bedroom in the dark, and thinking there is one more stair than there is. Your foot falls down, through the air, and there is a sickly moment of dark surprise as you try and readjust the way you thought of things.
A lot of people seem to get carried away that something that's made out of paper mâché is going to be better than not. And I always thought the original King Kong, that terrible little puppet with its hair going in all directions, was far more magical than Peter Jackson's incredibly beautifully rendered King Kong. So there's something to be said for a more primitive version of things. I think it's because it makes the audience work a little bit more, because you've got to invest it with life and reality, so I like doing that.
I love romantic comedies. I love romantic movies. I'm kind of a sucker for them, and, sort of end up crying at the end of them all, like a child.
When I look at 'Fallen Angels,' I realize it is not a film that is truly about Hong Kong. It's more like my Hong Kong fantasy. I want Hong Kong to be quiet, with less people.
It's a really common trap to want your life to live up to some standard that you believe in, and then you start to really examine those standards and realize they come not from experiences you've had, but things you've seen in movies, or feelings you've felt listening to pop songs, or ideas you've received from reading books. And not just happy things, but a lot of the time, sad things. It gets kind of depressing, when you see how movies and songs make these promises to us.
There’s a strange quality in stop-motion photography, like in King Kong, that adds to the fantasy. If you make things too real, sometimes you bring it down to the mundane.
In terms of romantic films, all-time romantic films, I really like 'Gone With the Wind.' And I realize I sound so cliched saying that, but there's something so absolutely romantic about it.
I really loved working with Michael Caine. He's a really skilled and experienced actor. I learn something from everybody, but when you work with somebody like that, you actually learn things you can put in your toolbox, things about craft. Not necessarily life lessons, but actual things he knows that you can pick up.
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