A Quote by Pontus Winnberg
When someone has too much of a thought-out idea, that can be a big obstacle to get anywhere. Because it's like [if] you have a preconceived idea of what's going to happen in the studio in an hour's time, then you're not free anymore and you lock yourself into your own expectations. I don't think that's very creative. It doesn't work well with me.
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America is not so much a country as it is an idea, and that must be why so many people are drawn to it, the idea of it, the idea that you might be free of your past, free of the traditions that kept you in your own traditions - that is the idea of it: freedom from your very own self.
Expectations are usually predicated on the idea that the everyday things that happen to ordinary people shouldn't happen to you. People hold the idea of being ordinary in absolute contempt, so when they face an illness, poverty, or any kind of catastrophe, they say, "I can't believe this happened to me." And who did you think it was going to happen to - the woman across the street? It makes them think, "I must be on the wrong path." But what if something you thought was bad was the best thing that ever happened to you? What if that was part of your path?
It is impossible to devise an experiment without a preconceived idea; devising an experiment, we said, is putting a question; we never conceive a question without an idea which invites an answer. I consider it, therefore, an absolute principle that experiments must always be devised in view of a preconceived idea, no matter if the idea be not very clear nor very well defined.
If you want to do good research, it's important not to know too much. This almost sounds contradictory but really if you know too much and you get an idea, you will sort of talk yourself out of trying it because you figure it won't work. But if you know just the right amount and you get enthusiastic about your project, you go ahead, you do it and if you're lucky things'll work out.
And it's kind of my own fault too, in the sense that I've used my own life as a literary device so much. I think people feel very comfortable reviewing the idea of me, as opposed to what I've actually written. I find that most of the time, when people write about one of my books, they're really just writing about what they think I may or may not represent, as sort of this abstract entity. Is that unfair? Not really. If I put myself in this position where I'm going to kind of weave elements of memoir into almost everything, well, I suppose that's going to happen.
Whatsoever you are waiting for, you are waiting in vain. It is not going to happen, and what is going to happen has nothing to do with your expectations and your desires. You just let it come in; don't block the way. Remove yourself out of your own way. This time, with no expectations, no desires, no hopes, just meditate.
The worst fear in the hearings was that you would get some evil interrogator: you could never know what might happen then. No one who lives in a free country will ever understand that kind of fear. What is most horrifying is the realization that you have no idea what can happen, that your life is totally in the hands of someone in the chair in front of you, someone might well be a demon.
We never get upset over what happens. Never. We get upset because of preconceived ideas as to what we think should happen, what we want to happen. When our preference clashes with the reality, we get hurt. Rid yourself of all preconceived ideas as to what should happen. You are then at peace whatever happens.
Expectations are usually predicated on the idea that the everyday things that happen to ordinary people shouldn't happen to you. People hold the idea of being ordinary in absolute contempt, so when they face an illness, poverty, or any kind of catastrophe, they say, 'I can't believe this happened to me.' And who did you think it was going to happen to - the woman across the street?
Inevitably, when directors work with me on a set, they say, 'This isn't what I was expecting. I thought you were going to be very serious.' But I like to stay loose and have a good time and not take myself too seriously. I think, otherwise, you get in your own way.
I think as a director you have to make it your own. It'd be a mistake to approach a project with the idea of 'I'm going to do this the way I think somebody else would,' because then you'd never be clear on your idea.
I think that there's some brainwashing going on with this idea that we don't have time to cook anymore. We have made cooking seem much more complicated than it is, and part of that comes from watching cooking shows on television-we've turned cooking into a spectator sport. ...My wife and I both work, and we can get a very nice dinner on the table in a half hour. It would not take any less time for us to drive to a fast-food outlet and order, sit down, and bus our table.
To find one's way anywhere one has to find one's door, just like Alice, you see. You take too much of one thing and you get too big, then you take too much of another and you get too small. You've got to find your own doorway into things.
I begin with an idea, but as I work, the picture takes over. Then there is the struggle between the idea I preconceived... and the picture that fights for its own life.
The idea for The Muse came from my own life, from a product that I wanted but couldn't find anywhere. Sometimes when you see a need for something in your own life and you can't get it, you feel crazy enough to make it happen yourself.
One of the things that really impressed me about Anna Karenina when I first read it was how Tolstoy sets you up to expect certain things to happen - and they don't. Everything is set up for you to think Anna is going to die in childbirth. She dreams it's going to happen, the doctor, Vronsky and Karenin think it's going to happen, and it's what should happen to an adulteress by the rules of a nineteenth-century novel. But then it doesn't happen. It's so fascinating to be left in that space, in a kind of free fall, where you have no idea what's going to happen.
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