A Quote by Todd Haynes
I've been really lucky with critical reaction, overall, even if my films don't often resemble each other.
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I think there's been a gigantic shift in the way we talk to each other, and the way that we communicate with each other. So as a filmmaker, the stuff's always been really interesting to me, and I sort of considered a lot of my films horror films, the ones that were relationship dramas, because I feel like it was very easy to look at modern communication and the Internet and cell phones and all that stuff as horror movies, basically.
It never seems to occur to anyone that each reader is different, and that even those who might be said to resemble each other will each bring an individual set of experiences and references to their reading, and interpret and misinterpret it according to these.
I just won't sing and dance in a film. But when you have a chance to star in an Abbas-Mustan film, why will anyone let it go? I have been lucky to do films which have been different from each other.
How often, when we have been nearest each other bodily, have we really been farthest off! Our tongues were the witty foils with which we fenced each other off.
I was lucky to get really good films, even though I don't have 100 films in my resume.
I've been lucky. I've made films that I really like. It's been a combination of what comes to me and what I choose. I've gone after lots of things that I didn't get, pet projects that everybody ends up chasing after. Really, you're lucky if you get anything.
Working on 'Austin and Ally' has been an absolute dream! We literally have fun every single day! Whether it's scaring each other or singing together or just hanging out in each other's dressing rooms, the cast and I are super close! I feel really lucky to be with everyone on our set!
Maybe we could think of science as being like a nuclear chain reaction in which people and ideas bounce off each other, and if critical mass is reached, a new field is formed.
What do we have in life, really? If we're lucky we get to a certain age, and we have each other. We have the food we like. We have our crazy little rituals. And we have each other.
A big reason why we were able to and have been able to continue to succeed is that we had a very intense work ethic, right from the beginning. There was a do-or-die attitude toward the work. It wasn't seen as a little "club." It was like, "This is your life." We would spend hours and hours rehearsing and endlessly rewriting. We took it very seriously right off the bat. And we were also extremely critical of each other, which was another thing that was unique. A lot of comedy ensembles have a hard time being critical of each other, because they don't want to hurt each other's feelings.
While directing in theater that the actors will - I don't know if it's competitiveness or what it is, but they love to make each other laugh. They love to impress each other in rehearsal. They'll try something for a reaction. But in film, you're very often not all together in the room at the same time. You're shooting one day, somebody else is shooting the next. It's a totally different dynamic.
Sometimes they were together so often that it felt as though they really were a couple; sometimes weeks and months would go by before they saw each other. But even as alcoholics are drawn to the state liquor store after a stint on the wagon, they always came back to each other.
I used to obsess on critical reactions to my films, and it's really not a healthy way to live your life, so my new take on it is simply, 'I hope people like it!' I'm not going to be looking at the tomato meter for at least a year! I was very lucky on '50/50' that most critics really liked it.
It has been religious people, often within the organized church, who have been the most critical of and even hostile to my relationship with God.
Those teams that really trust each other, really communicate with each other, really hold each other accountable and do it in a good way, in a respectful way, and just genuinely enjoy and like each other, I think that can be something that helps you separate when talent is equal.
In minority communities there's a sensitivity, often a knee-jerk reaction, to critical representations. There's a misunderstanding of what an artist does.
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