A Quote by Sofia Boutella
The beauty of the original monster movies is that you were able to relate to every single character, or even to treat their monstrosity as an emotional metaphor.
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It is conventional to call 'monster' any blending of dissonant elements. I call 'monster' every original inexhaustible beauty.
I watched as Humphrey Bogart’s character used beans as a metaphor for the relative unimportance in the wider world of his relationship with Ingrid Bergman’s character, and chose logic and decency ahead of his selfish emotional desires. The quandary and resulting decision made for an engrossing film. But this was not what people cried about. They were in love and could not be together. I repeated this statement to myself, trying to force an emotional reaction. I couldn’t. I didn’t care. I had enough problems of my own.
I don't know many women who can relate to Sharon Stone and the kind of movies she does. I don't know a lot of guys who can relate to Tom Cruise's movies because they're on a kind of fantastic level. I like movies I can relate to.
When I was a little girl, I used to watch a lot of monster movies, like 'Godzilla.' All those monster movies.
It's a great Disney tradition, isn't it? For every single character to die in all their movies.
I think there's a fundamental distinction between character-driven movies that are just really lovely slice-of-life movies and character-driven movies that you remember 20 or 30 years later; the common denominator with the ones you remember is that they all have some really complicated emotional problem at their core.
I grew up watching monster movies and horror movies, which I felt were like fairy tales and I think this always spoke to me. Something about that is symbolism - the beauty and the magic which helps me work with film and start making modern fairy tales.
There's so much difference having arm ability. You have to be able to throw it hard. You have to be able to throw it with touch. You have to be able to do everything in this league, and I try to get better at every single one of those throws every single day.
You can sustain visual beauty and innovative visual ideas for a certain length of time, but in a two-hour experience, which is really what movies are, usually audiences - whether they know it or not - most want an emotional connection to character.
I like emotional horror. I don't like horror movies. I hate them. But, if you can make emotional horror movies, I'm in. If I can care and root for the main character, then I'm in.
I don't make movies about issues. This is my same litmus test for all the movies I love: Is it a great character on a great emotional quest with a great emotional need? Do they overcome great emotional obstacles? Is it a fantastic story? I didn't set out to be a political activist. I'm just a human being who's moved by certain things, and if certain things break my heart, I set out to fix them.
I watched horror movies way too young and one of my favorite horror movies was The Shining. Jack Nicholson's character in that just bore a hole in my brain, his weird, maniacal controlled stuff. Obviously Mara in Village of the Damned wasn't an alcoholic and didn't have emotional, crazy outbursts. She was very non-emotional. But it was that sort of evil that I was tapping into.
I remember watching Swan Lake and everybody looking exactly the same, but being able to relate because they were the only company I had ever seen even on video that had Asian dancers. The Asian community in Hawaii is actually almost as dominant as the Caucasian community. I thought "I can relate to that company because they look like people that I see every day." They weren't all little stick-thin Russian ballerinas.
I had no idea what I was signing up for. I auditioned for some random character. I knew the sides were fake, but what they were trying to capture was an emotional toughness and a woundedness. I knew I liked the character. I didn't know who the character was, but I liked the spirit of the character.
It's always humbling, knowing where we came from. From being friends with the janitor in the bar and being friends with the waitress - because they were some of the only people that were listening when we finished playing - to this, we are able to appreciate every single person and every single piece of it, because we came from nothing to this.
The good thing about those original credit card commercials was that they were very "filmic", they were like little movies, so it wasn't a big step to think well maybe we could make a big movie using this character, which we eventually did.
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