A Quote by Rachel Morrison
I think 'Sound of My Voice' was the first film where suddenly I could point to something I had done that I was proud of and say, 'Look at this piece of work.' And that's probably what led to 'Fruitvale Station,' which was the real break.
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The first time I experimented with sound design was on 'Fruitvale Station,' where I recorded the BART train and manipulated it.
I never look back and think too much about my films. I've done some work I've been proud of over the years but which of them is my favourite I really don't know. I could say the last one. I've had little jumps in my career like Unforgiven possibly.
I've always been curious about people's psychedelic experiences, and I kind of had this assumption that I was going to have some kind of crazy mindblowing psychedelia thing happening, but actually, it was very quiet, and I didn't have any hallucinations at all. Nothing changed, except that suddenly I could hear the voice of my conscience, which I didn't ever think of as being a real voice. And ever since having that experience, I've had that voice in my head and followed it occasionally.
Think of the sound you make when you let go after holding your breath for a very, very long time. Think of the gladdest sound you know: the sound of dawn on the first day of spring break, the sound of a bottle of Coke opening, the sound of a crowd cheering in your ears because you're coming down to the last part of a race--and you're ahead. Think of the sound of water over stones in a cold stream, and the sound of wind through green trees on a late May afternoon in Central Park. Think of the sound of a bus coming into the station carrying someone you love. Then put all those together.
I left film because I felt that photography was my art. It was something I could do on my own, whereas film was so collaborative. I thought as a photographer I could make something that was artistic and that was mine, and I liked that. And it wasn't until I got back into film and I have very small crews and I could do very tiny filmmaking that wasn't 100 people that I still felt that I was making something artistic as a filmmaker. So, you know, I'm an artist, and whether it's photography or film, I want my voice to be there and I think my voice is very strong in this film.
I make something I can look at and say, "That's a good piece of work, and there's some terrific directing and acting in it, and you should be proud of it."
But when you are doing an animated voice, it has to have more energy than usual or it falls flat and doesn't work. For myself, I found that I had to put myself in the same physical or emotional state as Sid, in order to make that voice sound alive and authentic. So if there was a scene in which he was running, I would be running beforehand to sound out of breath. That's important because the audience can tell intuitively if it does not sound real.
This is going to sound pretentious, but I like comedy that addresses something I find either worrisome or interesting in my life. I like Louis C.K.'s stuff or Bill Burr's stuff. I feel like there's comedy where someone will think of something that they think will work comedically, and then they reverse engineer that point of view so they can say that funny thing. The comedians I like, it could be an allusion, but it feels like their point of view comes first and then the jokes are a reflection of what they actually believe, or are frightened of, or are curious about, or are interested in.
Was his life nothing? Had he nothing to show, no work? He did not count his work, anyone could have done it. What had he known, but the long, marital embrace with his wife. Curious, that this was what his life amounted to! At any rate, it was something, it was eternal. He would say so to anybody, and be proud of it. He lay with his wife in his arms, and she was still his fulfillment, just the same as ever. And that was the be-all and the end-all. Yes, and he was proud of it.
For me, whatever the outcome, it's nice to sit back to something and say, "Man, I'm really proud of that. I'm real proud of the experience that I had, I'm proud to be a part of something so iconic whether anyone watches it or not. They can't take away the experience that I had.
I wouldn't say anything I ever did in film would be something I'd use the word proud about. I've done better work in the theater.
I would make a huge distinction between theater improvisation and film improvisation. There isn't much improvisation in film - there's virtually none. The people that theoretically could be good at this in a theater situation don't necessarily do this in a film in a way that will work, because it's much broader on a stage. But in a movie, it has to be real, and the characters have to look entirely real because it's being done as a faux documentary, so there are even fewer actors that can do that on film.
It's only when a project or film doesn't work, that you think about what you could have done differently - whether you chose unwisely, or was there something in your application in that role, as an actor, as a director or as a producer, that you could have done better.
I'm proud that I've even had a career, but 'proud' isn't the first word I'd use. I feel lucky that I moved to Manchester when I was 12 because I don't think I could have done this in Ireland. And I feel lucky that the government took care of me from the age of 16 to when I signed my first record deal at 19.
I don't think there's any single finished point for a work. It's done when something's happening with the work that feels like a balanced, coherent disharmony. That's one way to say it. And where if I keep working on it, to discover and struggle with new problems, I'll obliterate the ones I was working on. I could keep working on it, but it'd become something different. And I value what's here, at the moment.
I had done a couple of plays, but I was a clueless boob. 'Cosby' allowed me to have something on my resume that was real and then the producers of 'Guiding Light' let me play a preppy killer just the following month. Suddenly I had two gigs on my resume that made me look like a real actor, although I was far from it.
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