A Quote by Zoe Kazan
Maybe this is a way of gaslighting myself, but I think of it this way: In certain circles, my grandpa was considered to be one of the seminal directors of the 20th century. I'm never going to be that. So I might as well do whatever I want.
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The thing I absolutely hate is when directors don't know what they want, and then they ask you to do it this way, and then maybe that way, and maybe that way, because they haven't made up their minds what they want. So you're running around in circles trying to give them what they want.
D-Day represents the greatest achievement of the american people and system in the 20th century. It was the pivot point of the 20th century. It was the day on which the decision was made as to who was going to rule in this world in the second half of the 20th century. Is it going to be Nazism, is it going to be communism, or are the democracies going to prevail?
I can sing 'Happy Birthday' to you in twelve different places, but one of them is going to make you feel a certain thing, maybe it's a vulnerability, maybe an innocence, maybe another way is sexy and soulful or bluesy whatever it is, but with singers, exploring keys, I think, is important.
I guess maybe my art can be said to be a protest. I see things a certain way, and as an artist I’m privileged in that arena to protest or say publicly what I’m thinking about. Maybe the strongest work I’ve done is because it was done with indignation. Considering myself as a feminist, I don’t want my work to be a reaction to what male art might be or what art with a capital A would be. I just want it to be art. In a convoluted way, I am protesting- protesting the usual way art is looked at, being shoved into a period or category.
So when it comes to being a role model to women, I think it's because of the way that I feel about myself, and the way that I treat myself. I am a woman, I treat myself with respect and I love myself, and I think that if I'm holding myself to a certain esteem and keeping it real with myself, then that's going to translate to people like me.
But whatever you might say and whatever I might say, a machine which can play chess with people is one of the most marvellous wonders of our 20th century!
When I was a kid, I looked at art as a way of blending everything. One of my favorite composers is Wagner - who coined the term "gesamtkunstwerk," or "total art work." That's what was going on in the 19th century, and the 20th century just kept it going.
'Cyberspace' as a term is sort of over. It's over in the way that, after a certain time, people stopped using the suffix '-electro' to make things cool, because everything was electrical. 'Electro' was all over the early 20th century, and now it's gone. I think 'cyber' is sort of the same way.
I like doing everything - theater and film, radio and TV, comedy and tragedy. I love it all. And I've never really planned anything - I've always looked at my job in a rather simplistic way. It's like being a plumber. One day you might be fixing an early 20th century showerhead that requires real detailed work. The other day you might just be clearing a sewer. Both jobs are very different, but all the tools come out of the same box. That's the way I look at acting.
There were certain expectations that were assumed of me as a young black American 20th-century - then 20th-century artist.
We're at a time now where there's a lot more "I'll do whatever it takes" attitude. I'm not going to say or do what you want me to say or do just because it might help me or be the politically correct thing to do to help my career. And that may have hurt me sometimes. I think about different collaborations that have been brought my way - it might have meant I'd get to be on TV to do certain things, but I've said, "No. It doesn't make sense. I'm not doing it." And other people might jump at the opportunity.
It's fun to sentimentalize the 20th-century lifestyle and the 20th-century brain, but it helps nobody, it makes you look ancient, there's no going back, and you'd be miserable if you did.
For most women, whether you're an actress or whatever you do, there is this pressure in society and within the world to look a certain way, dress a certain way, act a certain way, say certain things, and be this idea as opposed to being a person.
I don't particularly care about having [my characters] talk realistically, that doesn't mean very much to me. Actually, a lot of people speak more articulately than some critics think, but before the 20th century it really didn't occur to many writers that their language had to be the language of everyday speech. When Wordsworth first considered that in poetry, it was considered very much of a shocker. And although I'm delighted to have things in ordinary speech, it's not what I'm trying to perform myself at all: I want my characters to get their ideas across, and I want them to be articulate.
Once you're directing, you're kind of in a certain mode, where you're taking whatever is on the page and forming it into the film that you think it might want to be. So whether it's my writing or not, I still try to work with it in the same way.
I think everybody's got a presentation. Everybody looks a certain way because they want to convey a certain image. You look a certain way because you want people to listen to you in a certain way.
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