A Quote by Sebastian Lelio
I was writing when I was very young, and then I became interested in everything - I wanted to do photography. I wanted to act. I wanted to write plays, and then I wanted to film and to paint, but I felt that film had a condition that reunites everything.
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When I was very young I wanted to be a professional horseback rider. Then I wanted to be a pop singer. Then I wanted to be a psychiatrist. Then I wanted to be a movie director.
I wanted to be a director first to protect my writing. I'm a playwright and you don't need to protect your writing when you're in the theater because everyone's there to protect the writing. When I had an idea for a film that I really cared about as my own, I wanted to direct it, and then I immediately became interested in directing in and of itself because it's such a deep art. You suddenly have all these tools at your disposal to tell the story.
I think my mother became the muse because she had everything when she was in Hollywood: she had the marriage, the success, the money, all the films she wanted to do and yet even her, she had a longing and wanted to work with a film that had meaning, something more profound. And I think that was very touching to father.
I wanted to be a cartoonist, and then I wanted to go into film - not as an actor, but as a writer-director - and then I found myself during film school at the University of Southern California listening to the Clarence Thomas hearings in class on my Walkman, and I realized L.A. was not really for me.
I wanted to do everything right. I wanted to be good, and I wanted to be obedient, and I wanted to be the object of my parents' pride. I wanted to go to Heaven.
I really wanted to do plays since I was a little girl. I wanted to go to Juilliard and to learn, but then I really fell in love with doing film and television along the way.
I wanted to be a musician. I just wanted to be famous because I wanted to escape from what I felt was my limitation in life... And I wanted to write music, and I didn’t know what I was doing and I never had the technique or understanding of it... But I’ve always played the piano and I can improvise on the piano, but the problem is that I can’t write down what I write. I can read music but I can’t write numbers.
As a teenager, I wanted to write novels. By college, it was theater, plays, and then, shortly, it was film.
My roommate in college in Austin, Texas, was Wes Anderson. Wes always wanted to be a director. I was an English major in college, and he got us to work on a screenplay together. And then, in working on the screenplay, he wanted my brother, Luke, and me to act in this thing. We did a short film that was kind of a first act of what became Bottle Rocket.
I wanted to write in film or something like that. I thought acting was an embarrassing thing to say you wanted to do, especially when you're young. It seemed really uncool.
Walt had a seat-of-the-pants approach on what he wanted musically. We kind of 'read' the boss and had a very high batting average, but there were occasions when he felt we had just written the wrong piece for the situation he wanted. We invariably listened to what he wanted - he was very descriptive in what he wanted and we could read him. We'd go back to the drawing board and work out what he wanted. He was a great inspiration, but a tough taskmaster.
I think with my book, I wanted to first of all just be completely involved in it. I wanted to write it; I didn't want a ghost writer. I wanted to be honest about everything.
I started writing because I wanted to write scripts, but I wasn't very good at it. Then I started writing short stories, sort of as treatments for the film scripts, and I found I enjoyed writing short stories far more than I enjoyed writing film scripts. Then the short stories got longer and longer and suddenly, I had novels.
I wanted to do everything. I wanted to be a pilot. I wanted to be a secret agent. I wanted to be a fireman and a doctor, all that. So I related that through movies and stuff.
The deal was we had to have people accompanying us and they would ask us not to film something [in North Korea]. For example, we wanted to film at a certain place and there happened to be a building under construction and it didn't look as fancy as the other buildings, so they wanted us to shoot where everything looked finished and made a good impression of the cityscape.
I realised that I had always been writing things that other people wanted me to write and not what I really wanted to write, so I felt like I was losing my way.
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