A Quote by Gabriel Byrne
I think that if you can convey a kind of a complexity, a mystery, a truth in stillness, that, to me, is really worth striving for, and I totally agree with Michael Fassbender in that less is more. If it's going on inside you, the camera will find it.
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Everybody's version of style is totally different and that's what I think keeps me going out on the street everyday is going out and kind of seeing the variations and what things maybe I'd never seen quite that way that I find very curious and how people will be able to communicate their own persona through their clothing, their posture, the way they wear their hair. I think all those elements end up becoming very interesting because I don't think I'm really particularly a people person. So for me I think it's interesting to kind of be able to read people in that way.
I'm developing a little crush on Michael Fassbender. Really unoriginal.
It's once I discover the people inside that the story really gets going, and then the formal invention becomes less important. It's just the way in; it's the door; and then what's behind it is always some kind of people, which I think probably makes me more in the tradition of realistic fiction because that's usually what I'm interested in, the people.
For the artist, the goal of the painting or musical composition is not to convey literal truth, but an aspect of a universal truth that if successful, will continue to move and to touch people even as contexts, societies and cultures change. For the scientist, the goal of a theory is to convey "truth for now"--to replace an old truth, while accepting that someday this theory, too, will be replaced by a new "truth," because that is the way science advances.
Life as it unfolds in front of the camera is full of so much complexity, wonder and surprise that I find it unnecessary to create new realities. There is more pleasure, for me, in things as-they-are.
But though every created thing is, in this sense, a mystery, the word mystery cannot be applied to moral truth, any more than obscurity can be applied to light. ... Mystery is the antagonist of truth. It is a fog of human invention, that obscures truth, and represents it in distortion. Truth never envelops itself in mystery, and the mystery in which it is at any time enveloped is the work of its antagonist, and never of itself.
I feel less and less like that every year, and I guess maybe even more so with every new record that I put out. I just think, as the years go by, it's harder and harder to really find a reason to be annoyed that you made something that people want to continuously talk about. Certainly there are contexts in which the record can be discussed which will get me on the defensive and make me want to put some kind of calibration or some kind of context on what the record means in relation to my career as a whole.
I have an ambition to write a great book, but that's really a competition with myself. I've noticed that a lot of young writers, people in all media, want to be famous but they don't really want to do anything. I can't think of anything less worth striving for than fame.
In this kind of situation, we tend to cling to his convictions, we believe that, by magic, we are going to recover. Then we agree to drive less good cars and we are fatally more exposed. It is what finally happened to me with Ensign.
Yes, the more successful you are—or the stronger, the more opinionated—the less you will be generally liked. All of a sudden people will think you’re too braggy, too loud, too something. But the trade-off is undoubtedly worth it. Power and authenticity are worth it.
I'm really specific in the way that I shoot. I've always had a very good sense of what I need in the editing room. I used to shoot in a way that drew more attention to the camera and I've tried, in each film, to draw less and less attention to the camera. I think when you pay attention to the shots, you're aware of the fact that there's a director.
People think that unless you become the de-glam girl, who has horrible things happening to her, you're not really acting; all it takes to cry for the camera is some glycerine. Not doing anything is what's difficult; I know a lot of actors who will agree with me.
In a true partnership, the kind worth striving for, the kind worth insisting on, and even, frankly, worth divorcing over, both people try to give as much or even a little more than they get. 'Deserves' is not the point. And 'owes' is certainly not the point. The point is to make the other person as happy as we can, because their happiness adds to ours. The point is -- in the right hands, everything that you give, you get.
Emotional truth is the reward of digging deeply enough to find the truth about how one really feels, but in order to convey this truth with any force, or artistry, one needs to 'create' a form of expression, and this form determines its own "genuine information".
I'd love to do a film with Michael Fassbender. He's one of my heroes. I think he's absolutely amazing and I would love to do a project with him.
The answer is never the answer. What's really interesting is the mystery. If you seek the mystery instead of the answer, you'll always be seeking. I've never seen anybody really find the answer, but they think they have. So they stop thinking. But the job is to seek mystery, evoke mystery, plant a garden in which strange plants grow and mysteries bloom. The need for mystery is greater than the need for an answer.
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