A Quote by Sean Baker

With a lot of these social realist films, the first thing you do is drain the color. — © Sean Baker
With a lot of these social realist films, the first thing you do is drain the color.
There's one thing which I hate about color films... people who use up a lot of their despairing producer's money by working in the laboratory to bring out the dominant hues, or to make color films where there isn't any color.
That became my aesthetic - a very Chekhovian, American realist aesthetic in the tradition of Raymond Carver, Richard Ford, and Tobias Wolff. The perfectible, realist story that had these somewhat articulate characters, a lot of silence, a lot of obscured suffering, a lot of manliness, a lot of drinking, a lot of divorces. As my writing went on, I shed a lot of those elements.
There were a lot of people dreaming about making films, and they would finance maybe 6 films a year. Because they were funded by the government, the films sort-of had to deal with serious social issues - and, as a result, nobody went to see those films.
Here's the thing: every office I've run for I was the first to win. First person of color. First woman. First woman of color. Every time.
My mother didn't let me see color films. I saw a lot of black-and-white films. The first time I saw Basil Rathbone, I was completely taken. To me, that was the epitome of great acting, was Basil Rathbone - not only in Sherlock Holmes, but the Sheriff of Nottingham, and all the terrible characters he had to play alongside Errol Flynn.
Pedro Almodóvar asked me to watch italian films again as homework to look at the energy of all those women from the Italian neo-realist films. A lot of them had those characters that represented motherhood. For some reason, in the '50s in Italy, the mother figure was very important - and my character needed to have that energy.
Some of the subject matters that I like to make stories about are definitely not inherently commercial. So I have to look for a very special kind of financing and go down a very gentle path in order to make my films, as do basically all social-realist filmmakers. It's a long process.
We must level with the people and explain to them that Social Security will first face funding problems in 2042 that can be fixed now with changes that do not undermine and ultimately drain from the entire program.
Always been purple. Like I remember being in the first grade, looking up at the color charts, and saying, 'Man, purple is the best color, man, it's the best color, it just is the best color.' I have a lot of purple shirts and stuff, I'm always wearing purple.
I'm not a girl to wear a lot of bright color, but including a touch of color can pull an outfit together. I'm from New York and wear a lot of black, and color is refreshing.
For the profit of travel: in the first place, you get rid of a few prejudices.... The prejudiced against color finds several hundred millions of people of all shades of color, and all degrees of intellect, rank, and social worth, generals, judges, priests, and kings, and learns to give up his foolish prejudice.
Sci-fi works for me as a way of getting across a social conceit couched as entertainment. Social realist movies lost their way because they are just not that entertaining.
I am a social realist writer.
Love can be used to drain people. Through eye contact people send a cord out to drain you long distance. Through sexual manipulation, anyone who can make you like them can drain you.
You make a lot of films, do you? You make a lot of films yourself? Yeah, I'd like to see you make a film first before you get to talk about it. What a jerk.
Making my first record, I was really inspired by all the color palettes Sofia Coppola has in her films.
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