A Quote by Todd Haynes
In male-driven [films], the protagonist is not the person who's necessarily in harms way. There's a sense that they're going to figure out how to persevere and take on the obstacles and foes and you don't necessarily know if that's going to happen with the subjects of love stories.
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I think Hollywood is so driven by money, the people who are making the decisions are not necessarily reflective of the melting pot, so what stories are you going to want to tell? You're going to want to tell stories about yourself.
If you knew what was going to happen in the economy, you still wouldn't necessarily know what was going to happen in the stock market.
Thinking that everything is going to come together in a perfect way is not necessarily the way it's going to happen.
Being in relationship is not living in a fantasyland and don`t think that everything's going to be perfect all the time. You will go through phases where you're just not getting along. You're not communicating well. That's going to happen, and it's going to feel impossible to you sometimes. It might not even make sense to you sometimes. Arguments are normal. You have to be patient and sit through that and remember that this is a part of human communication and interaction. You're going to have these conflicts with anyone. It's not necessarily just that person.
I paint like an abstract painter everything is inside nothing is meant to be, I take tattoos off a people I take anything that's not necessarily going to be timeless. I want to get across what I feel and I just use the figure because I enjoy the figure.
I don't really know how writing process happens, how these songs are arrived at. One of the things I like about the writing process is, I don't necessarily know where it's going, and even if I think I know where it's going, it'll turn out different. I find that exciting and rewarding.
The way that I look at it is that, when we film for eight months straight for a new 'Jackass' movie, I know that I'm going to wind up with at least two broken bones. I don't know when it's going to happen, but you can't contemplate how you're going to fall and what's going to happen.
During your lifetime, the people of our culture are going to figure out how to live sustainably on this planet--or they're not. Either way, it's certainly going to be extraordinary. If they figure out how to live sustainably here, then hum anity will be able to see something it can't see right now: a future that extends into the indefinite future. If they don't figure this out, then I'm afraid the human race is going to take its place among the species that we're driving into extinction here every day--as many as 200--every day
You don't necessarily have to go to film school to be a brilliant film maker. If you are a good listener and you study life, and you find that story that is buried within each and every one of us, and you figure out a way to bring that out. And sometimes it doesn't necessarily mean money or winning the lottery.
None of our films look alike, we are very dialectical in our approach to each one, and 'Hoop Dreams' was no exception. That's what I love about documentary filmmaking, we never know where the story is going, we don't know what is going to happen next, and we're inside a culture of people that you have to figure out in many ways. It's a relationship between what you thought might have been the story, and what happens in the 'field.' Out of that comes the story, which was exactly what happened with 'Hoop Dreams.'
You're going to hit some rough patches. You're going to run into obstacles. People are going to say, 'You can't do it.' But you have to persevere. You have to keep working hard and believing in yourself.
As a viewer, I'm personally less interested in the damaged, white, middle-class male figuring out his dreams and more interested in maybe an underdog figuring out how they're going to survive in a world that doesn't necessarily invite them in.
I'd love to give Malcolm the truck. We're going to figure out how to make that happen.
If you're playing 55 to 60 snaps, you have opportunities to pace yourself, pick spots. When you're not playing as many and you don't know necessarily when you're going to be in, you do have to sometimes make it happen when you're out there.
That's what I love about documentary filmmaking, we never know where the story is going, we don't know what is going to happen next, and we're inside a culture of people that you have to figure out in many ways. It's a relationship between what you thought might have been the story, and what happens in the 'field.'
I think that knowing where you're going is important, and it's not like, when Robert says that, it's not like we know what every episode of the next five, four, five, six seasons of the show is going to be. I think Matt Weiner knew how Mad Men was going to end. Vince Gilligan knew how Breaking Bad was going to end. Marc Cherry knew how Desperate Housewives was going to end. Along the way, the process of crafting those stories ... You don't know what the road, what twists and turns that road is going to take to ultimately get you there.
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