A Quote by Kevin Pollak
I think it's important that your first film be your worst film, that one's life trajectory should go up.
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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.
I was at one of the lowest points of my life when we started this film [Dream of Life], except, of course, that I had two great children. But the film is not documenting a decline; it's documenting a rise up - first baby steps and then big steps up. The worst that could have ever happened to me had already happened. And so the film is on the ascent. And I think that gives it a nice spirit.
On your first film, you think these are going to be your closest friends for the rest of your life. You form a bond, but then you go back to the rest of your life.
If I hear a film clip, or I happen to see some image from a film - you go to a film festival, and they show some clip of the movies you've been in, most of the time I sit there and go, "Oh God, I should have... should have... that was terrible." But I think that's a natural part of this work, because really, your work is never over. Of course I can leave it alone and walk off the set and never think about it again when it's done. But your work is really ongoing all the time.
When you're making a film, you don't really have time to consider what the whole of your film is. And then, when you're releasing your film and promoting your film, you're looking at it in a different way. Then, as you move away from it, you start to look at it objectively and think, 'What could I have done better?'
I have always believed that the choice of your second film is as important as you first film.
As an actor, you have many tools - your body, your voice, your emotions, mentally. In film, you have your eyes because they communicate your thought process. In fact, generally in film, what you don't say is more important than what you say. That's not so much the case for stage.
As I talk to film students now especially, I say, "The easiest job you'll ever get is to try to make your first film." That's the easy one to get, is the first film because nobody knows whether you can make a film or not.
It's easier to go from theatre to film than the other way round. In film you're absolutely loved and cossetted and cared for. In film your director makes your performance. In theatre you're carrying it all.
I got into film in an odd way - when I was 17 years old I participated in a Swedish film as an actor. I think every person at that age should get a role in a film, because during that time you want acceptance, and when you have a role in a film you become an important person. I think about that now, and that was my fantastic starting point.
If you make a film, that magic is not there, because you were there while shooting it. After writing a film and shooting it and being in the editing room every day, you can never see it clearly. I think other people's perception of your film is more valid than your own, because they have that ability to see it for the first time.
After you've done the first feature, then you have heck of a difficult time getting your second film off the ground. They look at your first film and they say, "Oh well, we don't want you anymore."
Make the film that you love. When you find a film that you love, every molecule of your being will be moving in the direction of making the best film you can possibly make. This should be your default mode of operation.
Awards are important for all directors because they improve your working conditions. You're only as good as your last film, so if you get prizes or large audiences, then you get more money for your next film.
Normally, I think the people you would use on your first film, it would be a real struggle to bring them with you onto your television show. I just brought every single person with and expanded my little indie film world.
I don't think one should attribute the success and failure of a film to a single actor. When you decide to do a film, you weigh the pros and cons before taking a call. Only when you run out of patience, get insecure, and feel your career is heading nowhere do you sign anything that comes your way.
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