A Quote by Todd Haynes

Sirkian films really aren't - at least the way I see them, they're not about identification. They don't have voiceover. A lot of the love stories that are rooted, classic love stories rooted in point of view, use voiceover as a mechanism for locating you there.
I've made it very clear that I'm interested in voiceover work. I mean, I'm always looking for voiceover gigs. I love that.
The best love stories on film are rooted in the point of view of the more woundable, vulnerable party, the more amorous party.
At one time there were voiceover artists, now there are celebrity voiceover artists. It's unfortunate because these people need the money less than the voiceover artist.
I love telling stories from a kid's point of view because they don't really see all the obstacles in front of them. They're resilient, and sometimes adults can steal that from them.
What I like in comedies are really two things: stories that are character-driven and stories that are rooted in authenticity.
I had been very impressed with the voiceover of 'Apocalypse Now,' with Martin Sheen's voice. That was a great voiceover; it really internalized the Martin Sheen character, who was essentially fairly low key and didn't say a lot during the whole movie. But he thought a lot, so I always thought that was really great.
My films are very rooted in specific people's point of view. Some film-makers give a more global point of view, like God looking down at the characters.
When you're singing about love stories, which is most of my songs, it's good to have a lot of information and to have a different point of view.
I love doing voiceover work. I started doing voiceover work when I had just dropped out of school, and the first few professional jobs I got were plays, but then I started making money doing voiceovers.
I hope, my career is never predictable. And my interests are diverse in that way. I feel very lucky that when I'm burnt out of acting I take to the pen and I write something I want to direct. And then when I'm tired of taking on too much responsibility as a director I then look for an acting gig. And I've made it very clear that I'm interested in voiceover work. I mean, I'm always looking for voiceover gigs. I love that.
I love doing voiceover work. I started doing voiceover work when I had just dropped out of school, and the first few professional jobs I got were plays, but then I started making money doing voice-overs.
As a young girl, I loved having stories read to me. There is something magical about narration and voiceovers. Recording a voiceover is an art form in itself.
I love stories of female empowerment. I love stories of, "Hey, I'm an ordinary person." "No, you're not!" I love stories about not knowing you have it in you, but when called to task, you rise and you find out who you are.
If you're rooted to a spot, you miss a lot of the grace. So you keep moving, and this is the way I think the world's stories should be told - from many different perspectives.
I feel very lucky that when I'm burnt out of acting, I take to the pen, and I write something I want to direct. And then, when I'm tired of taking on too much responsibility as a director, I then look for an acting gig. And I've made it very clear that I'm interested in voiceover work. I mean, I'm always looking for voiceover gigs. I love that.
I love ghost stories. I remember when I was about 12, I read M. R. James' 'Ghost Stories Of An Antiquary' under the covers, way too young to fully understand what was going on with those stories, completely terrified but absolutely loved them.
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