A Quote by Jenji Kohan
I'm from the creative side of Hollywood. I'm up for anyone that wants to support my work. If you have eyeballs and give me a budget and are nice to me, I'm in.
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To me, I approach a small-budget, artsy, European movie the same way as a big commercial Hollywood movie. That's the most important thing. Hollywood usually represents this big dream in people's minds, but to me, it's just hard work.
In high school, I had to hide my comic book side, my nerd side from the civilian world so they wouldn't categorize me. They would try to marginalize me for what I like. I tried to give it up, believe me. I tried to kick the habit. But there's too much I liked about it to give it up completely.
Anyone who wants to help me doesn't. Anyone who wants to kill me might. Anyone who wants to love me better not.
Some young Hollywood starlets remind me of my grandmother's old farmhouse -- all painted up nice on the front side, a big swing on the backside, and nothing whatsoever in the attic.
It's nice to actually look done-up, because people see a different side of me, the more girly side. Obviously, I can't do that with cycling. I can't go with nice girly hair and full make-up.
Hollywood... that's not going to be my niche at all. If anyone is going wants to work with me, I would think it's going to be independent films. I'm not 22!
The public do get behind me, and I love the crowd. When I'm ever in London, they give me massive support - the Anniversary Games, the cheers; they are always nice to me.
I take it for granted that there's a side of me that loves public action, and there's another side of me that really wants to be alone and work and write. And I've learned to alternate the two as matters develop.
I know there's a creative side to artists to - pardon me - there's a creative side to scientists already, but there may be an artistic side, too, waiting to break free.
One of the reasons the whole Hollywood way of making films wouldn't work for me is because the way I operate would be anathema to anyone who wants to hold a job down in Beverly Hills.
I had a fascination with the back side of the business, and the creative process always fascinated me. Vince gave me an opportunity in '98 to sit in the production meetings. He would talk creative with me, and we had this creative rapport.
There's this creative thing in me that wants to have my work used - like the author of a book who wants it read.
The model we established was to give creative people complete creative freedom in exchange for betting on themselves, so they work for the minimums you're allowed to work for, and if the movies work in a big way, everyone does very well. If the movies don't, nobody loses too much money. The benefit to doing all the movies low budget is we can tell different types of stories and take creative risks. The Purge would have been irresponsible to do for $20M, but to do it for $3M makes sense.
Meeting Raven Wilkinson and having her as a mentor, it was that kind of support from the generations that came before me that helped to lift me up and give me the confidence to then be able to give back and bring other minorities with me on this journey.
For me it's much more like a little kid rebelling. The minute I was told what to do at any age, I did the opposite. Hopefully I'll do that for the rest of my life. I come from the business side and Mark comes from the creative side, but every time a decision came up about Creep it was two emails, and we agreed. I've not had that ever with someone on the creative or the business side.
It is true that ADs do not get a chance to get a chance to create or produce, almost never, because it's whole separate thing. Most creative producers you have to come up on the development side, you work with agents, you work with writers, you're in the office and then the AD's are on the set. But it's a real shame because part of - no decision in producing can be made correctly unless you have all the creative information you need but you also have all the budget and scheduling information you need.
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