A Quote by Paul Haggis
All the studios are owned by multinational corporations, which are not usually bastions of the left. So all the actors, writers, and directors - or at least a great majority of them - live in fear because we're all insecure, we all want that next job, we all want to be loved, and we don't want to piss off some studio chief who won't hire us for the next movie.
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I want to get out of the way of the actors. I want to get out of their eye lines. I want to them to stop thinking they're making a movie. I want them to just go and live. It's like you take these great actors and put them in an aquarium of life, and just watch them swim. That's what makes editing tough because you get all these beautiful, unplanned moments.
This is the contradictory desire in our utopia. We want to live in a small community with which we can identify and yet we want all the facilities of the city of millions of people. We want to have very intense urban experiences and yet we want the open space right next to us.
That's the trouble with anything which essentially has a lot of bits that are physically impossible: You're left, stuck, in the studio. And that's a shame. You're making a movie. You don't want it to stay put, you want it to be a movie - to move.
Studios, because they are investing a great deal of money in movies, they want a guarantee that when they hire somebody that person can deliver for them. Everything is fear based, so they pigeonhole people. But I've written everything, from Westerns to sci-fi to dramedy, I've done it all.
People always say, "What do you want to do next, what kind of movie do you want to do next?" And I say, "I wanna do whatever script that is the best one that comes my way." I certainly would never say, "Oh, I'm gonna do a Western next," and sit around waitin' for a Western to come along when there's some other genre's brilliant script sitting right there.
People want their actors to do comedy, too. They don't want any comedians next to the actor. They want one solo hero and want to see everything in him.
I don't want people thinking of me sexually. I don't want people to be like, 'She's hot-looking,' you know? I want them to listen to me for what I am saying. And I think the best way to do that is to sniff my armpits, and like, sit and burp every now and then. It just completely throws people off. I had a couple of offers to do some hot scenes in the shower with some guy and to make it real hot and sexy. The next thing you know, I'd be the next J.Lo or something. But that's easy. I want it the hard way.
But it's clear to me that us slow-poke writers are a dying breed. It's amazing how thoroughly my young writing students have internalized the new machine rhythm, the rush many of my young writers are in to publish. The majority don't want to sit on a book for four, five years. The majority don't want to listen to the silence inside and outside for their artistic imprimatur. The majority want to publish fast, publish now.
In a collaborative environment directors hire actors because they want their input, not just their bodies.
I don't want to inspire the next generation of tight ends or linebackers to play the game. If I could inspire the next generation of architects and technology leaders and writers and illustrators and film directors, then I feel like I have fulfilled my life purpose.
I want to be my own player. I want to be Julius Peppers. I don't want to be the next Lawrence Taylor. I don't want to have to live with his legacy.
I view my job as being someone who is supposed to piss people off. I don't want to be just one-of-the-guys. I don't want to be just a smiling face you see on television presenting some vapid kind of easily-digestible garbage.
There are some great actors I don't want to meet because I don't want to know how they did it. I don't want to know anything about their personal life, and the illusion, or whatever it is, the shape-shiftery magic stuff that they do, which is my joy.
Our job is quite strange in that we hire a coach, and therefore, we're the boss. But coaches tell us what to do, and I think some coaches might struggle with the idea of a girl being the boss and telling them, 'I don't want to see you now. I want to have some time to myself.'
I do believe in us as actors and directors and writers and producers and also as movie-goers. We have much more power than we believe we have. Without our ticket, studios can't make traditional decisions.
I'm not particularly interested in working with movie stars. It depends on where you come from, I suppose. Why are you making films? The reason I want make films is because they convey ideas. I think some directors make films because they want to hang out with movie stars and be part of Hollywood. They want to be a star themselves.
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