A Quote by Winona Ryder
There are certain directors who will start talking to you about something, and suddenly you'll be ready to roll, and you'll realize it was very specific.
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When I'm in certain moods, a conversation will start up in my head, and suddenly I'll realize that the language has reached a very high and interesting level, and then lines and stanzas will just kind of appear, full-blown.
One of the experiences of prayer is that it seems that nothing happens. But when you start with it and look back over a long period of prayer, you suddenly realize that something has happened. What is most close, most intimate, most present, often cannot be experienced directly but only with a certain distance. When I think that I am only distracted, just wasting my time, something is happening too Immediate for knowing, understanding, and experiencing. Only in retrospect do I realize that something very important has taken place.
I really love it, I love working with directors that are very collaborative and allow me input. I've done over 75 films, it's just like you're an apprentice. You learn so much about camerawork, lenses, and I'm always talking about DPs and directors and they always give me lists. I think pretty soon, I'll be ready to move away from being in front of the camera.
When you start talking about same-sex marriage, you start talking about abortion, and I think those issues are very very important and very interesting and very right for us to talk about, but when we allow those issues to cannibalize all other issues we find ourselves homeless while we debate about it.
When you are not separate from the creative process, time ceases to exist. You might start to feel tired and suddenly realize that much time has passed. It isn't necessarily a happy time - and may be very difficult to start if it is a job or an obligation. But if' you start with all the concrete needs and proceed in a thorough way - the creative process will take over and you will forget whether it is work or play. Working in the here and now is one of the most uncontaminated ways to work.
You take fantasies, which for thousands of years belonged to the religious realm - overcoming death or our merging with the universe - and you suddenly start talking about them in a more technical perspective as something that can be achieved, not after you die with the help of supernatural beings, but in this very life with the help of technology.
We're talking about race. It's ideology, it's a mode of policy. It's a practice. And it intertwines with class in a very specific way to create something very distinctive that we see now being legitimated in the United States by fascists who absolutely are unapologetic about what they're saying.
That's what's always been such a curious thing to me about feminism. They never lost any power. However, when you start talking about this particular area of our population, you're talking about the politicized nature of our country where feminism dominates and all heterosexual men want women. And all men realize you've got to do certain things. If you want to get a woman who happens to be a feminist, then you better do and say, be certain things. Men have gone crazy trying to be what they think women want them to be, and that's men in Washington, gone crazy.
Scorsese would talk to me about this movie 'The Heiress' with Olivia de Havilland. We were talking about this scene in it, and suddenly we were rolling. It was very intentional, and I didn't realize - because we talk old movies all the time.
As a presenter, while I might suddenly want to start talking about something completely different, I have to stick to what we've agreed in order for all these other people to get their bits into the programme. So you have to be quite disciplined.
I was very serene, and I still am, until I start talking in another voice, then suddenly I have a lot of volume and I'm frantic. But I didn't want to be one of those people who's always talking in accents in real life, so I started doing sketch comedy.
I am not comfortable kissing or exposing, and I believe in laying open my cards well in advance so that no one is inconvenienced. Till date, I have been very specific about certain things, and my directors have always understood my concerns and played along. I don't think this should pose a problem in the future as well.
Some directors are very free and some directors are very specific. It seemed like doing a play.
Never waste time and energy wishing you were somewhere else, doing something else. Accept your situation and realize you are where you are, doing what you are doing, for a very specific reason. Realize that nothing is by chance, that you have certain lessons to learn and that the situation you are in has been given to you to enable you to learn those lessons as quickly as possible, so that you can move onward and upward along this spiritual path.
You have to be very specific with the suggestions of how you want to show things, not just with dialogue but also place and mood. I write all of that as very vivid guidelines so directors can come in and do what they will with them.
I'm not that type of musician where I can sit down at the piano and work out a song; I actually really enjoy that process of sitting with somebody and having nothing and then suddenly something starts appearing. You struggle with it, and then suddenly a song starts to appear. Then, you've got to try and muscle it - there's that word again - into something and you do. You tussle with it and play with it and roll around with it and suddenly, magically, something appears.
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