A Quote by Jessica Lange
There's something magical still about it when I get in a darkroom, and you've shot a roll of film and you develop it and you look at your negatives, and there's like imagery there. That always stuns me.
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There's something magical still about it when I get in a darkroom, and you've shot a roll of film and you develop it and you look at your negatives, and there's, like, imagery there. That always stuns me.
Don't get between me and a really good picture in the darkroom, because then I want to go straight to the darkroom and develop it. But once that's done, I'm fine.
It was amazing to watch him in the darkroom at an advanced age, still get excited when the results were pleasing. He still struggled like we all do in the darkroom and he struggled behind the camera, and when he had a success he was beaming.
I was always into film, but theater was my entry point. I always felt like film didn't make sense to me as a kid. It was just so magical that I was like, 'There's something going on back there that I don't know.' But, when I watched theater, it was something that was happening in front of me.
I love directing because you get to see your film come to life. You get to work with the actors. There's something magical about each piece of it.
Even if you try to copy a film shot by shot, you still can't. It's still your own film.
I shot film with the Coen brothers on 'Hail, Caesar!' That's fine. I'm sentimental about film; I've shot film for forty years or something.
It still surprises me when I get cast in something. I'm not your, you know, I'm... I remember thinking really early on that you have to look a particular way and I'm quite aware of my look, so I always thought I wouldn't get a lot of screen work.
Fear is the darkroom where negatives are developed.
If you look at the films that I've done generally, you would probably get an idea of what I'm most interested in, and if ever I do something unusual like a science fiction film or an action film or a comedy or something, then that to me feels like a step to the side to do something different.
Your first film is always your best film, in a way. There's something about your first film that you never ever get back to, but you should always try. It's that slight sense of not knowing what you're doing, because the technical skills you learn - especially if you have a film that works, that has some kind of success - are beguiling. The temptation is to use them again, and they're not necessarily good storytelling techniques.
More negatives write than call. It's a cheap shot for me to go on the air with the critical letters or E-mail I get because the reaction of the listeners is always an instantaneous expression of sympathy for me and contempt for the poor critic.
I think I'll try to keep working in film for a little bit. There's something still kind of magical about it, that I don't want to let go of.
If I'm ever working on a set and anyone talks about a master shot, I say there is no master shot. Before I even went to film school, I learned about movies by being in a British feature film, where everything was shot master shot, mid-shot, close-up. But I reject the idea of a master shot. You don't shoot everything mechanically; you find imaginative ways that serve the action.
I'll tell you, in making film, especially when you're an actress, you're always worried about how you look on film, how they light you, always working with your camera people to be at your best, with the expectations of our culture that you always look perfect and beautiful and whatever.
I fell in love with the darkroom, and that was part of being a photographer at the time. The darkroom was unbelievably sexy. I would spend all night in the darkroom.
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