A Quote by Yorgos Lanthimos
No studio picks up the phone after seeing 'Dogtooth' and goes, like, 'We have the next superhero movie.' Though if one did, that would be an interesting studio to work with.
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I'm willing to give up a little control but not a lot. So I say I want the money, but when push comes to shove, I'm not sure I'll be able to compromise in order to make the big studio movie. Maybe something in between would be okay, like a low-budget studio film.
I hate studios. A studio is a black hole. I never use a studio to work. It's very artificial to go to a studio to get new ideas. You have to get new ideas from life, not from the studio. Then you go to the studio to realize the idea.
I would rather be hired solely for my talent, not just to fill a quota. I also don't want to shoot just any studio movie just to say I'm shooting studio movies - for me, quality of the material comes first, and if eventually that leads to a really great studio project, then that's a bonus.
At the time, The Hotel New Hampshire was John Irving's favorite adaptation of his work, which meant a lot to all of us who worked on that movie.It's amazing to me that that was a studio movie. That was a summer studio release! If that doesn't tell you how much the business has changed, nothing will.
Storytelling is the only studio movie where the censorship is perfectly clear, the only studio movie with a big red box covering up a shot. I take pride in that - and, of course, in having avoided the fate of Eyes Wide Shut.
I have the barn, it's just kind of like a studio. Almost all artists have la studio to work in, and that's really what it is. A place to get away. I'll spend maybe four days out there if I can, just completely immersed - like where I don't bathe or brush my teeth for a few days, just get up and make coffee and experiment until the sun goes down.
My whole life at a certain point was studio, hotel, stage, hotel, stage, studio, stage, hotel, studio, stage. I was expressing everything from my past, everything that I had experienced prior to that studio stage time, and it was like you have to go back to the well, in order to give someone something to drink. I felt like a cistern, dried up and like there was nothing more. And it was so beautiful.
To me, making a horror movie is about how you can present similar genre familiarities, but present them a little bit differently. Part of what interests me is the nonchalant realism of it, because you don't get that in the big studio horror movies. I like seeing someone walk around a house and sift through the drawers, and things like that, because that reminds me of what I would do, and of weird personal choices that people would make. That, in contrast to seeing someone get chased with a knife, makes it all the more interesting.
The thing is, it really did take us too long to get these recordings done. We've had our rough times in the studio in the past, but after four weeks most of the material would have been recorded. This time it seemed like it just goes on and on.
I always have days off before and after I go to the studio. That's really important for me that I know that I have days off after, 'cause then I can give my everything when I'm in the studio. I love being in the studio and being able to think, 'Okay, I'm not doing anything tomorrow.'
I suppose where I am sort of reflects the work I have chosen to do. Are there occasional frustrations because I can't work with a certain director because it's a big studio movie, and I don't have enough of a studio profile? The answer is yes. But generall... generally, I have the career I have chosen myself.
I function better in the jungle in Amazonia or Antarctica or Alaska or the Sahara desert. An artificial environment like a studio has never attracted me. I could work in a studio, but I would never really feel at home.
The strategy of keeping the studio close, like an outbuilding five paces from the house, or in the loft next door, or with the studio on one end and the bed on the other - makes art always available.
I remember so well my father's complete concentration when he went to the studio. Everything he did, every movement he made, he did with complete concentration. Then, after he had finished work, he would go to the beach or whatever, and then he would enjoy play and forget about his work.
I've gotten to work with amazing people. I would say usually we get to a point before we get into the studio where there isn't that sense of anxiety or nervousness of who they are because I don't think it would be as productive in the studio if that was the case. But maybe meeting someone like Neil Young for the first time made me anxious.
Directors typically have three choices - you do a studio movie and get a paycheck up front, you do an independent movie, which is for your heart and you don't get paid up front and probably don't make any money on it, but it hopefully goes to Sundance and is more of an art movie, and then you do TV.
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