A Quote by Shefali Shah
What I do in films is really special work but it doesn't happen everyday. On the other hand, art is completely my domain. It is my freedom of expression; I decide what I want to say, which satisfies and completes me.
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When you're somebody who has the pretension to make art, it's completely different from when someone else says I want to make a book of your art. You don't decide the title, you don't decide the size, the order of the photographs . . . so it's completely out of control!
The vampire or the bad guy, that's what people do remember. Lars von Trier, like Guy Maddin, their films are made for a group of exclusive people who like special films. And they are special films, they are art films. And I started with commercial films at the beginning, and later on, because you know, when you are an actor, you have the same cliché like everybody else, you want to be in big films, you want to be known and all that.
I try to express in my films things that no other art can approach. In my monster films for example, I use special effects in the same way one would use a special film stock, a special camera, and so on. Monster films permit me to use all of these elements at the same time. They are the most visual kind of film.
Is it possible to be alive, active in the world, and yet have such calm, such kind of inner openness and presence that one can lead a life, at least in part, that is an expression of that quality of meditative quiescence that's on the one hand quite alert and on the other hand, completely at ease, completely at rest.
So it's not gonna be easy. It's going to be really hard; we're gonna have to work at this everyday, but I want to do that because I want you. I want all of you, forever, everyday. You and me... everyday.
Things go in waves, and I might make a record every three years. That's enough for me, that satisfies me. And it satisfies the so-called public, because they don't really need a record every year. They don't even want one. There's other stuff out there for them to listen to.
My work is on the one hand laboured, and on the other completely happenstance and intuitive. But that's the swish in the work, I think. It's really important to me that the work isn't just sitting on top of something, that the materials are woven together - that they are recognisable and from the world.
The audience is expecting good work from me. They want me to do roles that are unique and important in the story. So, I am trying to focus on different characters to play. I am doing the kind of films which are completely different from each other.
I feel no compulsion to be a pundit. As a matter of fact, I really don't have that much to say about most things. Working with hard news satisfies me completely.
There was a time when I let go of the reins and thought, What's meant to happen will happen. That's probably one of my biggest faults as a person, and something that I've had to work really hard on: believing in this idea that the universe will decide for me. The universe is not going to decide in your favor.
If art doesn't require an audience, can an intimate conversation be a work of art? Can a thought be a work of art? Maybe. I don't know. These questions are completely hypothetical for me, because I love interacting with audiences. I want my poems to be heard.
I say let's go back to a truer use of the word 'freedom.' Let's start with President Franklin Roosevelt's Four Freedoms: freedom of speech and expression, freedom of worship, freedom from want and freedom from fear. I would add the freedom to bargain collectively. Those freedoms are under attack today.
Here [in the USA], you have the best laws for freedom of expression. The problem is that expression can be bought by people who don't want you have it. Apparently, true patriotism destroys freedom of expression.
Art is where we make a stand. If we don't make it there, freedom of expression is lost for everyone - for artists, for journalists, and for everyday people.
There are actors who aren't on the cover of magazines but still decide what work they want and when they want it. I want a family one day. So I dream of really being able to decide when to work and when not to.
Bigger-budgeted films have more restrictions and less freedom to create. Because of this, I try to find freedom in the people I work with. I often work in ways I don't want to. It's more about controlling the situation. Lower-budget films are freer.
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