A Quote by Nadine Labaki
It's only normal for me to work with my family because I think they are talented and because there's a warmth when I'm working. As a filmmaker, sometimes you are very fragile. You are in a very fragile situation most of the time. I think it's important to be surrounded by people you just get along with.
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Honestly, it's a blessing. Benny's [Blanco] probably one of the most talented people I know. He's just a very proactive guy when it comes to music and is just very creative. I think because of that, it makes it very easy to work with him.
I got hit in the face with a gun. I'm not very fragile at all. It makes me think maybe things would be easier if I were terribly frail and fragile somehow.
Akon is a very talented songwriter to work with. His melodies, they're just insane. It's funny, I think about him a lot when I'm doing my melodies because he's so simple, and he's just been great. He keeps me on my feet, very grounded, but he also puts me on a silver platter, which is always very nice. So it's been an incredible influence. It's like every time you work with somebody that's better that you are, you become greater.
Sometimes when we think about femininity, we think also fragile. But I think you can be feminine and very strong. I think make-up goes with that femininity. I think it's a natural gesture for women and one they do more for themselves than for others.
Alejandro Amenábar is a very interesting filmmaker. I had really liked The Others, which was a movie he made with Nicole Kidman a few years ago. He made a very compelling case about how much he wanted me to be in this movie. Whenever a really passionate, talented filmmaker seems to have an interest in me, I take it very seriously because I like to work.
When you are working on something yourself, it's very easy to get lost because you are convinced that people think in the same way - that they will get these unspoken things that are just floating in your head. Sometimes they do and sometimes they don't.
I think casting is really important. Finding the right sensibility for the right part is an art in itself. If you're off there, you make it harder on yourself as a director. And it's fun to work that out with the actors. I don't think there's any magic to directing actors. It's very instinctual. Working with actors is really one of my favorite creative moments of the whole process, and the most fun, because it's collaborative. I spend a lot of time rehearsing. I'm very rehearsal-oriented, probably because I have some background in theater. I like knowing what will work beforehand.
Self-censorship has become a part of me. I think because we live in a place where community is very important, family is very important, you feel the weight of how people look at you. Even though I might seem very modern and very liberated, I still have a lot of issues to deal with. I'm scared of how people look at me.
I got tired of doing battle with people thinking I was a little weird because I wasn't in a band making happy, stilted music. The only people who really seem weird to me are people who think they're normal. People who think it's possible to be normal just by doing the same things that most people do. Is there a most people? I don't know. Television makes it seem like there is, but I think that might just be television.
I think it's important to have as much as a normal life and take the time to get perspective because it only helps your work in the long run.
But the time in Portugal was very important for me because I've always been comfortable with the ball, but I think I proved that even more there because it was a very important thing in the game.
Whenever a really passionate, talented filmmaker seems to have an interest in me, I take it very seriously because I like to work.
For me, filmmaking is an ongoing self-reflection process. I kind of push everything to the edge. I feel very exposed and fragile when I make a film. It's a process of dealing with loneliness. And it's also very dramatic - because while you are working on a film, you just realize how incapable you are of dealing with all these things. And you open yourself up, and it's like your heart is utterly exposed. And it's very tiring on a daily basis.
In London I'm out and about all the time. I walk everywhere, so people do recognise me and they've probably seen me before so they're not bothered anymore. But I think that's a good thing because if you try and remain mysterious people are surprised when they see you. With me, I think they're just bored of seeing me - but that suits me just fine because I like to live as much of a normal life as I can. That's why I love living in London. People are very respectful of your privacy. If they see you having a coffee in a coffee shop, they're not going to interrupt you.
People always think that because of 'Dr. Quinn' that I just play nice family stuff. But the truth of the matter is that 'East of Eden' was a very successful thing for me in the past. I've played a lot of very evil people in my time.
I think that the exchange is very important. Before I did the exhibition in Shanghai, I was a judge for the John Moores Painting Prize and that was very interesting for me, because some of the judges are Chinese and some are British, and we look at the work together. It was fascinating that most of the time we were in complete agreement, but some of the time we were not. People send their works from all over China. For a foreigner, this gave me a very good picture about what is happening in China and its art today.
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