A Quote by Sissy Spacek
I feel like if I don't get a film and somebody else does, then that film never belonged to me. The ones I get belong to me.
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I'm able to lead my life as well as make a film. My wife and my friends and people around me know that I do tend to distance myself a little bit during the making of a film, but I have to, it's a natural part of the process for me because you are indulging in the headspace of somebody else, you are investing in the psychology of somebody else and you are becoming somebody else, and so there isn't enough room for you and that somebody else.
This film [ Blue is the Warmest Color] actually is the result of me talking with my producer Vincent [Maraval]. I gave him a bunch of ideas and then Vincent helped guide me and develop this particular film. I enjoy that rapport to have somebody else help guide me in my choices for the next film. The poetic way of looking at it is which project is going to choose me as a director.
I didn't feel like I belonged with my mom. And I didn't feel like I belonged with my dad. Since they were separated, I kind of felt like I didn't belong anywhere. So my grandparents gave me that stability, gave me the feeling like I had something and I came from some place.
I have a good friend who's a very good printer. And he does a certain amount of printing for me. I do all the developing. If somebody's going to goof my film, I'd better do it. I don't want to get that mad at anybody else.
I just got on Twitter because there was some MTV film blog that quoted me on something really innocuous that I supposedly said on Twitter before I was even on Twitter. So then I had to get on Twitter to say: 'This is me. I'm on Twitter. If there's somebody else saying that they're me on Twitter, they're not.'
I have seen this whole process of films releasing, becoming hits or flops, for too long now to expect things to do well. If I expect a film to do well, then it is for somebody else's sake, not for my own. I do my work, and if you feel that my work is improving from film to film, then I have done my part of the job.
I grew up in New York and I've always lived here, so I look at myself as a regular person. When somebody recognizes me from the film - and it can be a wide range of people, which shows the power of film - I feel like they're talking about someone else we both know. I just find it hard to believe that anyone would stop me to share how much they loved something that I was a part of.
Acting became my best friend. When I auditioned to get into college, the teacher said you belong here, Mr. Klugman, and to hear that word belong - I never belonged anywhere before - and suddenly I belonged in acting and it was so comfortable and I loved it.
I think with every character I get, there's an approach that's appropriate. I feel like my own job is to interpret what there is in the film and show that through me, sort of really channel myself through the role. If I feel I need to get into it to the point where I don't leave it, then I will.
Initially, I had started doing theater, where the actor has a direct relationship to the audience. So, moving into film and television disconnected me. When you do a film, you start to get the character, and then it disappears for a year before it's released and you get feedback.
It does not feel any different being directed by a first-timer as long as I am convinced that the director is passionate about the film he or she is making. If you get a sense of their vision for the film and their aesthetics of your performance, then it does not matter whether you work with a new or an experienced director.
As a young man, even if I was going to see a play or a film by myself, I didn't feel like I was alone. There was something that was unfolding up there that brought me into it. And I recognised that. For those two hours, it made me feel like I belonged to something really good.
I can't believe 50 years have gone by since that film was released. I blinked and suddenly here I am. We all really felt blessed and as for me; how lucky can a girl get. Great music does more than enhance a film, it cements our memories in the film going experience.
Getting the audience to cry for the Terminator at the end of T2, for me that was the whole purpose of making that film. If you can get the audience to feel emotion for a character that in the previous film you despised utterly and were terrified by, then that's a cinematic arc.
I never feel that because of my presence a film will taste success. A film's success or failure does not totally depend on me.
I've always been curious what the negotiation is because obviously there's certain movies that every film wants a trailer on, like Star Wars, and I don't know how Disney makes the decisions as to what it does and doesn't put on there. I'm assuming that whatever movies are the same studio as the film get first priority, but then everybody else is fighting for the remaining spots.
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