A Quote by Yorgos Lanthimos
All of us have been through relationships; there have been periods of time when we've been single. It's something that everyone experiences. It's a matter of making that observation and then start to ask questions about it: Why is it like that? And why do we feel that? And why are we organized this way? Isn't there any other way?
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You can imagine over very long timescales, perhaps far beyond the multi-decade time scale, we might be able to ask very deep questions about why we feel the way we feel about things, or why we think of ourselves in certain ways - questions that have been in the realm of psychology and philosophy but have been very difficult to get a firm mechanistic laws-of-physics grasp on.
I have been asked so many times why I live a green life, why water conservation, why getting wells in places, why work with water organizations, why conserve water at home with double-flush toilets, why I tell my daughters, "Turn off the tap" so much. Sometimes I want to say, "I wish I knew the answer." My answer really is: I don't understand why everyone doesn't feel this way.
Why do you have to retire at 65? Why can't you start at 70? You know, like wine. Why can't music be that way? My new band, we're playing stuff that's never been done before.
I learned to ask myself questions like: Why is something made the way it is? Why does a motorcar look like it does? Is it right or wrong? What is an airplane? Why is it shaped like that? Then, later, I became a diver and studied subaquatic life and the streamlining of sharks and manta rays. Any fish is superior to the shapes we humans have invented - and unchanged for 250 million years, imagine!
In terms of our foreign policy, that's where we made a mistake after 9/11. Everyone's going, "Why, why, why," and there wasn't any investigation or learning from any of what we had been doing up to that time that had set us up.
When I see something I end up making a song about it and that's the way it is. There have been plenty of times when I've been in the studio and they were like, "Hey, why don't you make a song about such and such," and I just can't. I've gotta have it in my heart.
I've spent the majority of my life estranged from either one or both of my parents, and I've really had a lot of time to break down all the reasons why. There was something buried inside of me that said, I've got to kind of unravel the reasons why I don't talk to them; why not just one, but both of my parents and I have these really messed up relationships. And why I've been so fractured all these years. I got to the point where I thought, I was not the best kid. I openly admit that. But then I realized it doesn't matter. I was a kid!
I guess I was just always one of those guys who asked those fundamental questions: 'Who am I? What's this for? Why? What does this mean? Is this real?' All these pretty basic questions. I like making movies about people who are self-conscious in that way, and are trying to feel their way through the world.
I'm not saying that there weren't other inherent problems with the score that couldn't have been overcome with a bit of remixing, but why did they ask me to do it, and why did Griffin ask me to do it this way, for a film that had nothing to do with American vernacular?
I try to take interest in whatever comes my way. Another aspect of this is [that] if at the beginning it seems like something I don't want to do, I ask myself why I don't want to do this and why I feel this way. It's perhaps rooted in the fact that I'm trying to avoid something.
After I have photographed the way I like to, I feel as I might if I had been making love all day, marvelous and exhausted and wanting to collapse on the floor in a heap. That's why I can't photograph just anybody, and why it's so hard to photograph people on assignment; it's like going to bed with someone not of my choosing.
That's critical to me, the community. When I was 12 years old, I had a mental breakdown; I went berserk for a long time. I felt rejection from the white community. Couldn't understand why the pigmentation of my skin kept me from doing. Everybody always told me "You're going to be something." And of course, I began to raise questions about why it is that white folks treat us the way they do. The breakdown was very vivid. I just all of a sudden felt like I had been overcome by a train.
When I decided to write about my brother and friends, I was attempting to answer the question why. Why did they all die like that? Why so many of them? Why so close together? Why were they all so young? Why, especially, in the kinds of places where we are from? Why would they all die back to back to back to back? I feel like I was writing my way towards an answer in the memoir.
You degrade us and then ask why we are degraded. You shut our mouths and ask why we don't speak. You close your colleges and seminaries against us and then ask why we don't know.
What is it about possessing things? Why do we feel the need to own what we love, and why do we become jerks when we do? We've all been there- you want something, to possess it. By possessing something you lose it. You finally win the girl of your dreams, the first thing you do is change her. The little things she does with her hair, the way she wears her clothes or the way she chews her gum. Pretty soon what you like, what you changed, what you don't like, blends together like a watercolor in the rain.
I have been fortunate to collaborate with people who have been open to discussion. If I tell them something, they have always explained to me why they want it the other way.
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