A Quote by Xavier Dolan

Cinema is a thankless industry where sometimes to appear on the cinematic scenery is a thing for late bloomers and people who are very patient. The places are accounted, and the space is often unwelcoming. Money is rare, and independent voices are muted by the almost complete absence of risk takers.
There are always late bloomers [in sport], no matter size, although big men are more often late bloomers.
The thing about immigrants is the people who come to this country with that kind of drive? They are risk-takers. And we need risk-takers who want to improve their lives, create jobs and do those things that add to the dynamism of our economy.
Never seek financial independence in independent cinema since independent cinema doesn't make money.
The quality of mainstream cinema has changed. A lot of independent voices feel they can leave everything behind and make independent films.
There are almost no takers for independent musicians in India.
That's the thing I want to make clear about depression: It's got nothing at all to do with life. In the course of life, there is sadness and pain and sorrow, all of which, in their right time and season, are normal-unpleasant, but normal. Depression is an altogether different zone because it involves a complete absence: absence of affect, absence of feeling, absence of response, absence of interest. The pain you feel in the course of a major clinical depression is an attempt on nature's part (nature, after all, abhors a vacuum) to fill up the empty space.
I seem to wonder if we can reach some kind of new destination with cinema, or touch upon human existence in a different way to what cinema usually does in its very schematic and sometimes very controlled, plot-oriented ways of thinking. Sometimes I feel like I've found the holy grail, and next week I think it's a complete mistake and I need to try something completely different. It's an ongoing process.
When you write a scene where somebody is afraid of something you instantly go to decades of genre cinema: horror, suspense, and thrillers. Those are very cinematic genres, when you shoot a close-up of someone and you can see fear in the person's face, or anticipation, or some kind of anxiety, it's a very cinematic image.
Jerk equals narcissist.Narcissists tend to be risk takers. Risk takers happen to do better in general in businesses. So jerk equals narcissist, equals risk taker.
In today's rapidly changing world, the people who are not taking risk are the risk takers.
I'm very comfortable with the idea of there being late bloomers, and for me, of course, there's no difficulty at all in the way that I think of talent and achievement and so on.
The alarming thing in China is the almost total absence of primary care. Even in cities, there are no independent doctors' offices or neighborhood clinics, so people have to go to the hospital for every health care need.
If we know one thing from the transgender people who are currently serving - I'm in contact with one group that counts almost 200 people in uniform today who identify as transgender - it is a process that they have - that many of them have begun, that many of them would very much like to complete, if they could do so without putting their years at risk.
Writing allows for fictitious voices - the voices of persons unlike myself - that might otherwise be muted.
Every man who has lived for fifty years has buried a whole world or even two; he has grown used to its disappearance and accustomed to the new scenery of another act: but suddenly the names and faces of a time long dead appear more and more often on his way, calling up series of shades and pictures kept somewhere, "just in case," in the endless catacombs of the memory, making him smile or sigh, and sometimes almost weep.
Unlike prose writing, the strange process of writing with pictures encourages associations and recollections to accumulate literally in front of your eyes; people, places, and events appear out of nowhere. Doors open into rooms remembered from childhood, faces form into dead relatives, and distant loves appear, almost magically, on the page- all deceptively manageable, visceral, the combinations sometimes even revelatory.
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