A Quote by Raoul Peck
I have to make sure, when you start seeing a film, you are going to see it until the end. I have to, of course, entertain you a little bit. The real question is how far do I go?
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For me, it was just a case of seeing what stage I could actually get to. For every kid it's the same, you don't know how far you can go until you get a bit older and things start to become a reality.
I never knew where I was going to end up when I started film. I didn't start film to be famous. Of course, it's a public medium, and of course we chose a public medium because we like people to pay attention to the work that we're doing. But I didn't know what I was going to end up.
I get bored. We seem to have been having a little bit more time off this winter than last winter. I'm always itching to get back in the car. It's going to get harder, so I've got to make sure that I'm doing everything I possibly can do to make sure I can start next season how I ended this season.
Yet in truth the big question Camus asked was never the Anglo-American liberal one: How can we make the world a little bit better tomorrow? It was the grander French one: Why not kill yourself tonight? That the answers come to much the same thing in the end-easy does it; tomorrow may be a bit better than today; and, after all, you have to have a little faith in people-doesn't diminish the glamour that clings to the man who turned the question over and look at it, elegantly, upside down.
Every time I think about changing a diaper, I run a little bit harder and a little bit faster to make sure I can afford a nanny until my daughter's old enough to take care of that herself.
The real question is not what one person's going to do, what are we all going to do? How are we all going to pitch in to fix this party to make working America know that the Democratic party is absolutely on their side? That's the real question.
I like the idea of seeing a film that has the artist's hand in there,a film where you can see his strokes, you can see his working patterns. It's like going to a museum and seeing a Renoir drawing. You want to see their work and you want to see how they put it together. For me to see that in animation is really fresh, it's really exciting, it's really original.
I may go back and spice it up with a little bit of the tool stuff and grunting and all that that I know so well. But it feels like I'm rehashing old material. And some of my audiences like that. So I'm there to entertain. I'm not there to make a political statement or anything like that. I'm there to entertain.
Before you know it, you're half-way done with your idea and you've accidentally learned how to do it too. In short, you start with little bit of something real and make it tick. Then you make it tock.
I'm interested to go other places, I've been the boy in the bubble since we've been shooting, I need to go travel a little bit, see where the action is, other than going to see family, of course.
You can sit and write in your room all you want, but until other people see it, until you see it produced for television or film or something, you're not 100 percent sure if what you wrote is actually going to work.
After seeing Avatar the movie, you see how far it can go to be right. But you kind of see that and go, "Oh, there's the bar now, and how close can we get?"
We all have our own takes on things. To being yourself. The abstract, the whole thing that I play with, seems to result in seeing through your lenses, and once you express how you see things to others, you start to see there are similarities between all people. It's kind of like, no matter how far you go, you're still where you started, in a way.
I guess I was a little bit nervous, because there seemed to be so much secrecy with Ben [Stiller] wanting to make sure that it was a surprise when we walked out on the [Valentino] runway. I remember showing up at Place Vendôme and doing the fitting and seeing the pajamas that I was going to wear - which I like very much - and seeing Ben arrive kind of in disguise.
I go back to things all the time. It's really nice, too, like when I'm going through some kind of a writer's block, and I'm feeling uninspired, I go to some of my oldest songs from over the years and sift through them, and one thing that's very nice is to see how I've grown up a little bit. A little bit.
I wouldn't know what to do with [colour]. Colour to me is too real. It's limiting. It doesn't allow too much of a dream. The more you throw black into a colour, the more dreamy it gets… Black has depth. It's like a little egress; you can go into it, and because it keeps on continuing to be dark, the mind kicks in, and a lot of things that are going on in there become manifest. And you start seeing what you're afraid of. You start seeing what you love, and it becomes like a dream.
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