A Quote by Todd Haynes

I came out of a sort of experimental background, and I didn't ever really expect - or even desire - a career as a feature filmmaker. — © Todd Haynes
I came out of a sort of experimental background, and I didn't ever really expect - or even desire - a career as a feature filmmaker.
I came from a very different sort of background and pedigree from the people who were on "The Daily Show". I was an actor. I was sort of - the irony is that I've done as much dramatic work in my career as comedic work and I don't really think of myself as a comedian.
I had a background in theater as an actor, and then a photographer, and then as an experimental filmmaker and editor.
By the time I finished 'Poison,' the New Queer Cinema was branded, and I was associated with this. In many ways, it formed me as a filmmaker, like as a feature filmmaker I never set out to be.
At the end of my career, I was, most of the time, a rider who came out of the background and won races just like that. I stayed calm and used my experience. So if you can feel that, if you know how to handle that, then yeah, that's really nice.
The time that it takes to make the feature is really contingent on the feature being sort of almost ready-made - so coming to a book is more ready-made. You at least have the story that someone sorted out.
Going from a short to a feature is like going from crawling to flying. It's a big jump, really. Everything triples - size of crew, budget, shooting days, the cast. Not to mention the stakes - as a first time feature filmmaker so much rides on this film.
I think I'm still trying to be experimental on everything I ever do, but it's not as obviously way-out and experimental as what we were.
I don't think being a star has ever been part of the plan. But I always want to do really good work, even when I made career moves with projects that made more sense in sort of a career way than in an artistic way... like I did with 'The Darkest Hour.'
I sort of came out at the dawn of the Internet in the mid-90s and I think it helped break my career. I think I was one of the first artists to really benefit from the grassroots swell that can happen online. I don't know if I would have broken out without it.
With filmmaking, I for so long was like, oh, I need permission to go out and be a director and be a filmmaker. And I read Robert Rodriguez's 'Rebel Without a Crew.' He just went out and did it, man. In his book, he even says just put your name on a business card and say you're a filmmaker. Congratulations, you're a filmmaker.
I love to read and teach experimental fiction but yes, neither this work nor my first novel is really that experimental. It uses some experimental techniques but in the end, I would not say that it is experimental. I'm not sure why. I do a lot of writing on my own, and I have always just written this way.
I don't expect to ever put my family background to rest but I do expect to be taken seriously as a scholar, a writer and a Latin Americanist on my own terms, not defined through my parents and their history or politics.
I came out of Capitol Hill. Well, that's just not an ordinary background for a writer of the ordinary American sort.
I always wanted to be a filmmaker and became one through sheer single-mindedness. I came to filmmaking from a background in graphic design. I went to film school at Newcastle Polytechnic.
I don't know if I ever entertained an academic career, nor did I ever think I'd become a feature film-maker in the market.
I used to be really nervous when I sang. Like, when I was a kid starting young, 18 and 19, and my dad really had to sort of push me to start singing in front of people. Ever since I got out there and really started doing it, the only thing I've ever tried to do is just sort of is be myself, you know, never put on a voice. Sing naturally.
This site uses cookies to ensure you get the best experience. More info...
Got it!