A Quote by Brit Marling
I think one thing for sure that you learn the more films that you make is how important it is to choose your collaborators.
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People think that I have some idea about how I choose my films. I make sure that I am doing the kind of films that I want to watch. You hear so many stories, and one of them will stand out and connect to you somewhere.
It's easier to greenlight your own films when you're not surrounded by other people aspiring to make films. You have to work a little harder and rely more on yourself and your collaborators and the real relationships you have. There are so many hypotheticals that dominate the industry, and everyone's always waiting for someone else to tell them when to make a film and write a check and sign the talent.
Every decision that you make either moves you toward your personality, or toward your soul. Each decision you make is an answer to the question, 'How do you choose to learn love?', 'How do you choose to learn authentic empowerment-through doubt and fear, or through wisdom?'
I think it's important to make sure you learn and understand the business that you are in, but it's also important to not let that get in the way of your main focus.
The more that learn to read the less learn how to make a living. That's one thing about a little education. It spoils you for actual work. The more you know the more you think somebody owes you a living.
I tend to choose collaborators who are more courageous than I am. I think it's good for me.
I'm deeply appreciative that many people have enjoyed my films, films that I made in my own style. The successes have helped me learn how to make films free of expectations and focus solely on the pure filmmaking aspect, without worrying about how much money it'll make.
Self-defense is so important to know in today's society. It's not just that you might get mugged. It's more for confidence. It's the way you hold yourself when you walk into a room. Every step you take is more sure and you're much more aware of your surroundings. So, I think it's a really important thing - especially for women.
You realize how much the relationship when kids are young can suffer. And it's important to make sure that you are able to spend some time with each other. As a father, the best thing you can do for the kid is to love the mom. Even as a parent, I believe that loving the mother is the most important thing. And even parents who maybe aren't together I think that's important for them as well to respect each other and to be kind to each other, because I think it does so much in who they would pick to be around, or how they feel about themselves.
I think it's important how you spend your time. I try to make sure that I'm growing.
I think that's how you have to make films. You can't try to imitate or repeat. You have to make your own thing, tell the story that is in your own heart.
I do movies that I would like to go and see. I think that's a good barometer of how I choose films. I like going to these movies. Our job is to make sure the audience gets their $16 worth. That's my job.
The minute that you understand that you can poke life and actually something will pop out the other side, that you can change it, you can mold it. That's maybe the most important thing. It's to shake off this erroneous notion that life is there and you're just gonna live in it, versus embrace it, change it, improve it, make your mark upon it. I think that's very important and however you learn that, once you learn it, you'll want to change life and make it better, cause it's kind of messed up, in a lot of ways. Once you learn that, you'll never be the same again.
The important thing is to learn through experience. The more you do the more you learn. I don't think anyone can teach acting from a podium.
The biggest thing I have realized was that you have to choose your collaborators very carefully, and that not everybody can like you. The process of filmmaking is so difficult, there's no point in doing it unless you can do it the way you want.
The thing about collaborators is that you don't know you are one whereas as a member of the resistance, you do. [In WWII,] the worst cases of collaboration weren't among the real collaborators, that official militia, but among the people at large, who were collaborators without knowing it, by a sort of laxity, an apathy.
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