A Quote by Sarah Polley
Lately I did a film called All I Want for Christmas and it was well received. This gave me a new point of view and a new respect for my work as an actress.
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I went from silent films to watching French new wave cinema. I became entrapped by it all. That's when I knew I wanted to do film. The moment you start looking at film from a critique point of view - there's a difference between watching a film as an audience and with a critical point of view.
Well, it's a little harder in New York. It's not as forgiving to a film crew. You hold up a bunch of New Yorkers who can't cross the street, they're not going to take it well. Southern California? They'll wait. It's cool man. In New York, they're like, 'Are you kidding me? I gotta get to work.'
I remember when I was doing my first Christmas album, I thought, 'Wouldn't it be nice to find new Christmas songs?' Then I went, 'Are you crazy?' When I decorate my tree I don't want new Christmas songs, I want to hear all the familiar songs!
I was thinking about being more global in my work, which means trying more foreign countries and working with foreign filmmakers, hoping they would give me a new take on my work, a new point of view, reinvent me in some way.
I asked for strength,
and God gave me difficulties to make me strong.
I asked for wisdom,
and God gave me problems to learn to solve.
I asked for prosperity,
and God gave me a brain and brawn to work.
I asked for courage,
and God gave me dangers to overcome.
I asked for love,
and God gave me people to help.
I asked for favors,
and God gave me opportunities.
I received nothing I wanted.
I received everything I needed.
I am wary of sequels. I understand them from the studio's point of view, but the audience doesn't want more, they want better, and I thought the second 'Ghostbusters' was not very effective, it did not really work, so there's no reason to believe a third would. I'm more interested in new things.
The whole point of me doing a Christmas record and what I centered it around was the song 'Christmas with You' from the point-of-view of the soldiers in Iraq.
I met Michael Snow and Stan Brakhage the second day after I arrived, you know. I had never seen or heard of Brakhage. For me, it was a revolution, because I was well educated in film, but American-style experimental film was known to me in the abstract, and I had seen practically nothing. I had seen a film then that Noël Burch had found and was distributing called Echoes of Silence. It was a beautiful film, three hours long. It goes forever and it was in black and white, very grainy, and I saw that film and I thought...it was not New Wave. It was really a new concept of cinema.
Certainly, nothing would stop me coming home for Christmas, if I can. But I've worked a lot in theatre, and in theatre in New York, we work Christmas Day a lot of the time as well.
First and foremost I have to look at the film from an audience point of view. Yes, one has to see the story from an actor's point of view as well so that you can showcase performance as well. However before that, I need to ensure hits.
A new language always reflects a new point of view, and the gradual unconscious popularization of new words, or of old words used in new ways, is a sure sign of a profound change in people's articulation of the world.
Being in New York as a whole, Brooklyn as well, you can do anything you want. That's by far the best part about New York, besides just the hustle and grit and grind of Brooklyn specifically, but the best food. Anybody you want to get in contact with, odds are if they don't live in New York, they're passing through New York at some point in time.
From the point of view of basic physics, the most interesting phenomena are, of course, in the new places, the places where the rules do not work - not the places where they do work! That is the way in which we discover new rules.
I think Europeans have enough tradition and respect for the experience and body of work of an actress that they don't sell out to the new ones.
I think Europeans have enough tradition and respect for the experience and body of work of an actress that they don't sell out to the new ones
I love New York very much, and it was very important for me to spend my 20s in New York City. You're exposed to so much here, whether it's other people or just the grind of it and how hard you have to work. I think it forces you to define yourself: what kind of person do you want to be? What kind of woman do you want to be? And then inevitably, what kind of actress do you want to be?
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