A Quote by Zach Gilford
I hate when a movie just sort of ends and is so open-ended you feel like it wasn't finished. I appreciate leaving things up to the interpretation of the audience and letting them make decisions about where things will go in the future - but the director has to make a decision; otherwise it is sort of a cop-out.
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I definitely prefer real-life endings. But I do like having an ending. I hate when a movie just sort of ends and is so open-ended you feel like it wasn't finished. I appreciate leaving things up to the interpretation of the audience and letting them make decisions about where things will go in the future - but the director has to make a decision; otherwise it is sort of a cop-out.
I don't deal with conflict well, so sometimes things will happen that will make me feel sort of powerless. But instead of being able to actually deal with the problem, I just suck it up - that's the way I was raised. Music, then, becomes my one avenue for letting things go, and when I get the chance, I let it rip. It's like therapy in that way.
For me, as a film goer, I like nothing more than to sit in the cinema, have the lights go down and not know what I'm about to see or unfold on-screen. Every time we go to make a film, we do everything we can to try to systematise things so we're able to make the film in private, so that when it's finished it's up to the audience to make of it what they will.
I realise there are situations where I camp it up, make myself into a sort of novelty character to ease things along. Like, if I ever feel uncomfortable in a situation, I can just make myself into this funny Will-and-Grace-guest-star type of person, and maybe people will not pay attention to the deeper things going on.
I feel like, every single decision I make and every single album I make, it's all about letting go. Letting go of the past and just getting on with it.
People seem to think that my movies are so carefully coordinated and arranged - and in a lot of ways, they are - but every single time I make a movie, I feel that every director makes these choices. You make choices about your script, you make choices about your actors, and how you're going to stage it, and how you're going to shoot it, and what the costumes are going to be like, and in every single detail, you make that decision. And for me, what ends up happening is, I wind up surprised at the combination of all these ingredients. It never is anything like what I expected.
I don't think it was me getting rid of any sort of imageI do specific things in my career that are tailored for a specific audience. Obviously I have a younger generation that looks at me - and I really appreciate that. And I just did an animated movie, so I want to respect that and still do things that will earn me that respect. But I also want to do things that challenge me and put me out of my element.
This might sound strange, but I've never really been a person who has goals of any sort. I tend to just work in the moment, day-to-day, try to make things and make decisions that feel good, and it tends to guide me where I want to go in the long-term.
The way to make better decisions is to make more of them. Then make sure you learn from each one, including those that don't seem to work out in the short term: they will provide valuable distinctions to make better evaluations and therefore decisions in the future. Realize that decision making, like any skill you focus on improving, gets better the more often you do it.
Make certain decisions only once . . . We can make a single decision about certain things that we will incorporate in our lives and then make them ours - without having to brood and re-decide a hundred times what it is we will do and what we will not do.
Also for me, I don't make endless movies back to back all the time, I really sort of come to understand and love the characters that I play. And with April and Hanna you sort of go through a weird period of feeling sad about letting them go. Sometimes that takes me a week and sometimes it takes me a couple of months, just so that I can feel I can realign my own thoughts again. I do feel really, really blessed that I've had these opportunities.
Things come up from the outside, the outside world says, okay, you have do this, you have to go here and here and here, and these are your options. You can be here or you can be here. You can do this, or you can do this. You can go here, or you can go there. So each one of those things becomes a place of decision, and the way we make decisions is that we all get together and if somebody doesn't feel right about it or it doesn't seem to sit right, usually we'll go with the no vote. If somebody's not comfortable with it, we'll figure it's not going to be worth doing.
I kind of prefer to be sort of ahead of the pack checking things out, priming the canvas, if you will, for the younger guys that are going to come up and try to make their own statements about what they feel and what they have to contribute.
Making films is sort of like you're pulling off a magic trick. It's sort of like an illusion. It's not real but you want it to appear real, and all kinds of things go into that, from the clothes you're wearing to the make-up, to the light.
You have to accept that the moment you hand a script to a director, even if you've written it as an original script, it becomes his or her movie. That's the way it has to be because the pressures on a director are so staggering and overwhelming that if he or she doesn't have that sort of level of decision making ability, that sort of free reign, the movie simply won't get done. It won't have a vision behind it. It may not be your vision as a screenwriter, but at least it will have a vision.
You try to break it down to weeks at a time otherwise you sort of make yourself crazy spinning out going from one....you just can't get your head around one of them fully. So I'm more task oriented. I like to sort of like focus on one thing for a couple of weeks...and also they're all in different stages of development.
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