A Quote by Robert Benton
My next film is always shaped by the last one... by the things I feel I didn't get right, or the things I like and want to try to develop further, but it always comes out of the last picture.
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There's been a lot of aesthetically rich horror films that have come out in the last several years. 'The Babadook' is this perfectly paced, beautiful film. 'The Witch' is a beautifully made film. 'Get Out' is so intelligently written. I feel like there's so many great things happening right now.
It's one of those weird things where I'm always curious about what's next. It's not just an empty restlessness, I try to appreciate things as they're going along and in the moment, but when things are good, I'm always anxious about how I can better that or take it on further.
I always try that my next film is different than my last movie. I would like to surprise my audience; that, I think, is the job of an actor.
I like the stars. It's the illusion of permanence, I think. I mean, they're always flaring up and caving in and going out. But from here, I can pretend...I can pretend that things last. I can pretend that lives last longer than moments. Gods come, and gods go. Mortals flicker and flash and fade. Worlds don't last; and stars and galaxies are transient, fleeting things that twinkle like fireflies and vanish into cold and dust. But I can pretend.
It's always been my formula to get the next picture set up before anyone's seen the last one.
You should always make it like it's your last film. That's my personal belief. Every filmmaker is going to have another belief... That's the only way I know to try to make a film that might be good. You got to take it real seriously like it's your last thing.
Your mind has a way of not letting you forget things you wish you could. Especially with people. Like, you'll always try your best to forget things that people say to you or about you, but you always remember. And you'll try to forget things you've seen that no one should see, but you just can't do it. And when you try to forget someone's face, you can't get it out of your head.
Every record we do there are always two camps. There's the camp that's like, "I love it. It sounds different than the last one." There are the people that are like, "I want it to sound like the last one." You can't please everybody all the time, but I think for the most part we tend to maintain a healthy level of self-reference to kind of make sure we continue to push things forward.
We use shorts at the studio extensively to develop talent. I always love to give opportunities for young story people, animators, layout people something like that to take the next step up in their career and try things out.
We men are very simple people: if we like what we see, we’re coming over there. If we don’t want anything from you, we’re not coming over there. Period. Please highlight this part right here so you can always remind yourself the next time a man steps to you: a man always wants something. Always. And when it comes to women, that plan is always to find out two things: (1) if you’re willing to sleep with him, and (2) if you are, how much it will cost to get you to sleep with him.
Life holds many, many, many mysteries, abstract things we all think about. In a film when things get abstract, some people don't appreciate that and they want to leave the theater. Others love to dream, get lost, try to figure things out. I'm one of those people. I like a film, a story that holds concrete things but also abstractions. So when ideas come along that have those things, I'm falling in love and going to work.
There are always moments of despair when you get close to jobs and lose them at the last second. It feels like getting punched in the stomach. You feel like, 'Why do I do this?' Then you go to bed, get up the next day and forget about it.
A film like Genevieve to my contemporaries is not a film made years ago, but last week or last year. They see me as I was then, not as I am now. I am the reassurance that they have not changed. In an upside down world, with all the rules being rewritten as the game goes on and spectators invading the pitch, it is good to feel that some things and some people seem to stay just as they were.
Obviously, you've got to make the chase first, so first things first - get in the chase. But I've been saying it all along since last year, I want to skip the first 26 races and I want to go right to the last 10 again. That's where they pay the money. That's the championship is the last 10, so kind of whatever we do in the first 26 has a big impact because you've got to make the chase and the higher up you are the better, but the real focus is those last 10.
Irrespective of what people think I should do, I choose the kind of film I want to do next. I believe it's always about things falling in place at the right time.
If everything always went perfectly, I would feel like, When is the ball going to drop? Because good things don't always last. Maybe I'm a pessimistic person. When something just seems too good, I can't believe it.
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