A Quote by Yorgos Lanthimos
I haven't been a director-for-hire for any project. I work with people who appreciate that, understand that, and want to work that way.
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I love when you get to work with people who care about the project as much as you do because then, you're altogether in. I feel like I've been lucky so far to have the chance to work with people who work that way.
I think people do work too much. I've never been able to understand the whole 'make hay while the sun shines' thing. Either I want to work or I don't want to work.
I'm not someone that wants to control everything. I like to work with people that bring their talents to the project. So I like it when the makeup artist has a chance to do their work, when the dresser does their work, when the director does their work. They all come with stories and ideas to think about.
With a director it's all about the work; I'd work with a great director over - you know, I'm not the kind of actor who that doesn't go, 'I want to play this role.' It's more like, 'I want to work with this director,' regardless of what the role is because if it's a good director, you'll probably find a good role because it's a decent film. But a mediocre director will always make a mediocre movie.
You have to look at the body of work you're doing and then figure out the best way for people to digest it. You want people to come in and listen to all of it and understand the entire project. I think it's bad when everyone's like, "This is how you have to do it."
Barack Obama today is directing every federal agency to make sure we evaluate candidates on the level without regard to their employment history. So if you are a rotten employee, if you don't show up on time, if you don't get any work done, that cannot be examined as whether or not it makes sense to hire you. What we're gonna do is make sure that we only hire people who have been out of work the longest, because that's fair, regardless their work history, regardless whether they're qualified, this is Obama making it equal.
I aspire to be an instrument of the director. I'm happiest like that. The stronger the director, the more I'm willing to give them. It's not just about admiration for their films, it's how they deal with you, and whether they get you or the way you work. If they don't, you better adjust your way of working to suit them. I want to work with people who are good at what they do, and people who are passionate. As you get older, you suffer fools less easily. That's why there's all those cranky character actors. I'm an exception. I'm a sweetheart.
For us, being a label, we took out the whole aspect of the business that goes into sifting through people who don't care, who don't get what you're trying to do. We can just hire and work with people who get it - the people who understand what this project is about. When you're on a label, you're just hoping somebody will stick their neck out and work for you. Most bands are just like, "I hope they do it. I hope they promote it." But being a label, we know exactly what's happening.
There's no director or actor that I want to work with more than anyone else, other then maybe Johnny Depp, who I really would love to work with. I don't view any directors or actors above regular people, so I'm just happy to work with anyone, as long as they have talent.
There are good reasons why we don't want everyone to learn nuclear physics, medicine or how financial markets work. Our entire modern project has been about delegating power over us to skilled people who want to do the work and be rewarded accordingly.
I wasn't the kind of student that Pratt was looking for. They wanted patient people who would work on something forever. I didn't want to work on any project forever. I intended to get things done.
I know I am a human being. I can give myself to one year for a project. That is why I say I'm primitive in the way I work, especially compared to most artists. I came to New York in 1974, knowing that it is the art center of the world. But I didn't go to find people for my work. I do the work, and the people come to me, and I learn from them. That has always been my approach - to do the job first and then to respond to it after I finish and learn what people think about it. That's how I develop, and I'm more of an outsider in that way.
I'm at a place where I want to have fun. I want to be challenged. I want to love the people I work with and continue to appreciate being in the position to work and play and explore.
I'm trying to avoid any more asshole roles, at least for a little bit. The main criteria for me when choosing a project is a good director. I just want to work with these guys that I admire because I do want to direct my own films one day, and I want to pick their brains to see what their process is like, and see what I can take from that.
That's the best way to work on a project: talk to the director. In the end, it's the director's idea of how they perceive the movie and how they perceive the characters.
You can't really appreciate a work of art until you can understand how difficult it was to create. And that's probably true of any work of art - a rock, a tree, a bird, a fish, a sunrise made of light and air.
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