A Quote by Xavier Dolan
I don't really mind not being a part of a film - because if there is no part for me, I will never force myself upon a film. I feel like it's just a distraction. If it is not organically incorporated into the story, it just feels like a stupid appearance, like a sort of wink. I hate that.
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I feel like a lot of the stuff coming out right now just feels really inauthentic to me. But apparently, people don't seem to see through it. And this makes me sound bitter, but it's just my perspective. I'm not bitter. I just feel like there's a lot of stuff that doesn't feel like it's coming from a place of any sort of integrity. It just doesn't feel like it's coming from the heart, basically. It just feels like it's being produced because people know it's a formula that will work, or it's easily digestible and fun to look at.
I don’t mind if the character is a small character, but I would just like her to have a journey in the film. Sometimes the characters are just there as a prop to further the man’s story. The great directors I’ve talked to, I’ve said listen, I don’t mind playing a woman that is a tiny part, but how does the story affect her? What can I play in the end that’s different from the beginning? Otherwise, it doesn’t make sense, because it’s just like being a prop.
All in all, I'd like to venture into film. Films are my staple diet, so I would love to be part of a feature film, independent film... it all just depends on the story and the people behind it, really.
The pop world is cool, but I never really thought of myself as part of it or wanting to be a part of it because I'm on a label that's not really like that. They're not trying to dress me up, they're not trying to do things like that. I feel like I'm sort of separate from that, actually.
I just feel like when a good project comes along, I'm not going to discriminate against it because it's television or because it's a film. I never want to say no to something just because of the area that it's in. If it's a good story or I think it's going to be exciting to play or exciting to be a part of, then I'm going to be a part of it.
When I'm writing film music, I feel like I'm more a filmmaker than a composer. It's more about what the film needs. I'm basically part of the team that's creating a film, and the music is a very important part, but it's just one part of many.
Everything changes once you start trying to market the film. Part of you feels like everything is slipping away from you. For me, I don't want people going to the theater thinking it's going to be a laugh-a-minute comedy, like a Will Ferrell film or something. Because it's not.
I feel like if I am physically and emotionally able to be at the theater, I will be there. I don't like not being there - I don't like playing hooky. I am just one of those people who feels really, really guilty if I am not there - maybe it's part of being Catholic.
I have skipped from style to style from film to film, and I love doing that because it's given me the ability to free myself from the past. Perhaps one of the worst feelings that I can have is the feeling that I'm locked in, like a prisoner of myself, which is something we all feel at some point in our lives. So part of making those stylistic jumps is just to free myself up-to get away from the old or the old Oliver Stone.
I like traveling and I like not being part of the film world. Especially when you're in the middle of a junket, you're thinking, "I'm not doing this again for four years!"That's about taking time and finding the right story and being in a happy place in life where you can joyfully tell a story. I'm not really into the fame side of things, so I'm very happy with making a film every four years or so.
It took a long time to get that film made. I went in for it almost right after or like maybe six or seven months after I had my son and actually auditioned for the Regina King part and they just were like, 'No, you're just - you just don't really seem the part.'
I still audition a lot - it depends on the medium. For film, I audition just like everyone else, because it's a different set of casting directors. For television and theatre - well, for theater, there's some auditioning that has to happen, just for them to know that you can sing it, and how you'd take on the part. But for TV, things are getting a little better with, "Would you like to be a part of this?" But that's really for one - night things. It sounds like a pompous answer, if I say people are calling me to ask me to do things.
I just feel like it's so amazing every few years when I'm not making a film to act and basically go back to film school and just watch other filmmakers work and try to be a part of somebody else's vision. So I feel like you do use two very different parts of your brain, and it's great to be able to jump back and forth.
For me, Chanel just makes sense - like a story or a film. It's part of my life.
There are two parts of me. There's the really critical, film-nerd part of me that loves that, and then there's the part of me where I'm like, "I really didn't like that movie, but I want to work with that director because he loves actors."
Filming in Africa touched something really deep inside of me, really. It changed my matrix, my insides. My blood even feels kinda different. I don't know how to describe it. It's really kind of Eucharistic. I feel like I ate the place and now it's part of my system, part of my being. I'm not claiming that now I know what it's like to be African, but that now I have a deeper understanding of myself.
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