A Quote by Joshuah Bearman
Often my characters have some kind of idealism or grand belief that they're pursuing.
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They have their belief, these poor Tibet people, that Providence sends down always an Incarnation of Himself into every generation. At bottom some belief in a kind of Pope! At bottom still better, a belief that there is a Greatest Man; that he is discoverable; that, once discovered, we ought to treat him with an obedience which knows no bounds. This is the truth of Grand Lamaism; the "discoverability" is the only error here.
One of my favorite scenes in Fellini is the ecclesiastical fashion show in Roma, and the end of 8 ½, when all the characters in the life of Guido, Marcello Mastroianni, get together and do this grand procession. That was on my mind, especially at the 45th anniversary, when all those characters in Valentino's life returned to Rome. I kept watching that and saying, if only we can arrange that grand procession at the end...and it kind of happened.
Youth is a period of idealism. The Communists attract young people by appealing directly to that idealism. Too often, others have failed either to appeal to it or to use it and they are the losers as a consequence. We have no cause to complain if, having neglected the idealism of youth, we see others come along, take it, and harness it to their cause - and against our own.
To have a reason to get up in the morning, it is necessary to have some kind of guiding principle. A belief of some kind
Very often, as an actress, there's some kind of stereotype, but with any good script, you should be able to swap the genders of all the characters, and it shouldn't make a huge difference.
When we create female characters, I think often there is a tendency to kind of make female characters emotionally bulletproof.
Female characters in literature are full. They're messy: they've got runny noses and burp and belch. Unfortunately, in film, female characters don't often have that kind of richness.
A lot of journalism wants to have what they call objectivity without them having a commitment to pursuing the truth, but that doesn't work. Objectivity requires belief in and a commitment toward pursuing the truth - having an object outside of our personal point of view.
Some people see me as dissecting my characters in some kind of heartless, coldblooded, analytical way, when in truth making these movies is a passionate, intensely emotional experience for me. I'm detached from the characters only to the degree that I have to be in order to write honestly about them.
The common belief is that you are either a dreamer or a realist. But idealism and pragmatism aren't as far apart as one might think.
Idealism without pragmatism is impotent. Pragmatism without idealism is meaningless. The key to effective leadership is pragmatic idealism.
People who are passionate about what they do reach financial comfort and wealth more often than those who are not. That argues for doing one of two things. Finding your passion and pursuing it. Or becoming passionate about what you're already pursuing.
You love all your characters, even the ridiculous ones. You have to on some level; they're your weird creations in some kind of way. I don't even know how you approach the process of conceiving the characters if in a sense you hated them. It's just absurd.
Talk of belief in these animals is not some kind of anthropomorphism. We simply cannot explain the kinds of problem solving and behavioral sophistication some species exhibit without supposing that they have genuine beliefs. But once these ethologists finish making the case for animal belief, they quickly move to talk of animal knowledge as well. What I argue is that this is not a mere façon de parler.
The go-to reflex all over Hollywood is still likeability. I've always had a problem with it because I think I have a weird barometer in the sense that some of the characters I've cared about the most in movies are characters that are often thought of as despicable.
Katie Grand often comes in from a very different angle than what I've been thinking about. And that really gives it that extra something, because designers can often get stuck in their own view of how the collection can look. I always love the way that she turns it into something else and I kind of let go at that point.
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