A Quote by Rory Kennedy
I think it can be really powerful, and one of the reasons I love making films is I do feel they can reach beyond the statistics and the numbers and the complexities of a particular issue and really highlight the humanity in a way that an article or newspaper story might not be able to do.
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Some people read an interesting or provocative newspaper article, and that's the end of that. A writer reads such an article, and her imagination gets fired up. Questions occur to her. She might feel an urge to finish the story that the article suggests.
One thing about beginning writers is that they don't really always know their own strengths and weaknesses - you might think you're bad at characterization, but that might really be because of some issue you're having with another element, which is making it hard for you to express character in a convincing way.
I have to feel something emotionally on the story to be able to write for it. I turn things down if I don't feel I'm really right to tell that particular story.
Women sometimes really love to look at other beautiful women on the screen. But they don't look at a woman the way a man looks at a woman. They want to be that woman. They like if a woman is beautiful or sexy, especially if she's powerful. They like to see her catch a man, or to be powerful in the world. I think this is why a lot of women love noir films and classic films because they can really identify with these really strong, beautiful women. That's the kind of power that women have lost culturally.
One of the problems with watching TV is that you've got a fairly low level of language operating all the time. Quite a small vocabulary and really no conceptual or abstract thinking. That's an issue. If you've got a wide vocabulary, you can learn. The complexities of grammar, in themselves, force you to think about time in a particular way. Force you to widen your outlook on the world.
At the breakfast table we are footnoting everything that we read. We don't recognise it as such but we encounter an article in the newspaper and then suddenly we recall that a friend had a certain comment on that particular story, a certain bit of news that we saw on the television applies to that and we immediately assemble an idea of a story.
It's not fair that our name can be used in any newspaper, any article connected with anything, and we can't really fight about it. It's like any newspaper that might take a picture of you, bad or good, and sometimes they're awful pictures, and they can use them without your approval and you can't do anything about it.
We intellectualize it, and we rationalize it, but it's really about a love of movies, and I think whether you're making an art film or you're making a genre film, if you don't really love that movie you are trying to make, you'll be able to tell.
People who take books on sex to bed become frigid. You get self-conscious. You can't think a story. You can't think, "I shall do a story to improve mankind." Well, it's nonsense. All the great stories, all the really worthwhile plays, are emotional experiences. If you have to ask yourself whether or not you love a girl or you love a boy, forget it. You don't. A story is the same way. You either feel a story and need to write it, or you better not write it.
I thing for female filmmakers a big issue is making their second and third films. You see the statistics, and the dropoff on the second and third [films] , are dire.
In New York City there are interesting characters and there are interesting stories. There's a story on every street corner. I love it. I think that's what really attracts me to making films.
We might have been ready to offer sympathy, but in actuality there were stronger reasons to want to congratulate her for having found such a powerful motive to feel sad. We should have envied her for having located someone without whom she so firmly felt she could not survive, beyond the gate let along in a bare student bedroom in a suburb of Rio. If she had been able to view her situation from a sufficient distance, she might have been able to recognise this as one of the high points in her life.
Part of why I think I have so much fun working in the mockumentary genre is that you can cut to pretty much anything at any time. People are now so conditioned to watch documentaries - they know how they operate, and that you can introduce a new character by cutting to them, and now they're in it. Similarly, being able to treat a sidebar idea that has nothing to do with your main story really seriously, the way the rest of it is being treated - all the pomp and circumstances lend themselves, I feel, to making comedy feel really earned and funnier and weirder.
I'm really, really blessed. Not only am I blessed to have found that I love making films, but I'm also insanely blessed to be able to do it. I have to remind myself that when I'm complaining.
It's a really unique situation where you just - you make independent films or you make big blockbuster movies, but it's very rare when all of those ingredients come together, and you can really tell a story that you care about with a character you absolutely love with the people you love making movies with.
Films have been my only passion in life. I have always been proud of making films and will continue taking pride in all my films. I have never made a movie I have not believed in. However, though I love all my films, one tends to get attached to films that do well. But I do not have any regrets about making films that did not really do well at the box office.
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