A Quote by William Monahan
There's only one way to prep, so far as I know. You have your script, you hire the people you want, you find your locations and your setups, everybody shows up and you shoot the film.
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People who get implants, it's so depressing, you know... People - I don't know. The route of that, you know, maybe they want more love or attention, or what it is, but they always go for the most obvious place, you know? Here... Well if you really want more attention, why not get them in your eyes? And then move your eyes down to where your nipples used to be, put your breasts up on your head, everybody will pay attention!
We can't make movies without scripts, and there's no cost to writing a script, so my advice to newcomers is do it yourself: Write your own script, shoot your shorts, edit your shorts.
When you are in relationship with people, in a thousand and one ways you are provoked, challenged, seduced. Again and again you come to know your pitfalls, your limitations, your anger, your lust, your possessiveness, your jealousy, your sadness, your happiness all moods come and go, you are constantly in a turmoil. But this is the only way to know who you are.
Of course, growing up, you listen to your favorite people on the radio and you want to have an album of your own and you want to have number one songs that people know and can sing back to you when you have shows.
If you walk into somebody's office with your hair uncombed and a pick in the back, and your shoes untied, and your pants half down, tattoos up and down your arms and on your neck, and you wonder why somebody won't hire you? They don't hire you 'cause you look like you're crazy!
If you make a show of going against the times, flaunting your unconventional ideas and unorthodox way, people will think that you only want attention and that you look down upon them.They will find away to punish you for making them feel inferior. It is far safer to blend in and nurture the common touch. Share your originality only with tolerant friends and those who are sure to appreciate your uniqueness.
It's probably unprecedented for a filmmaker simply to take the writers' script and treat it as the instructions on the package. What really happens is you pretty much suppress your own instincts - and your own views on the matter - and write things the way filmmakers would like to have them, though the filmmakers often don't know what they want. They can only find out by reading what you do.
I think the most important thing is to, without belligerence, stand up for what want. Argue compellingly if someone tries to change your script. Yeah, legally they can if they want to. But rather than give up, as some of the writers do, and just wail about how your script got rewritten, it's much more difficult - but well within the realm of possibility - to argue very sincerely, calmly, and reasonably from your point of view, such that the director or the producer might decide, "All right, let's do it that way."
If nobody comes to your shows, then it's modern dance. If everybody comes to your shows and no one likes it, is that ballet? I don't know.
Somebody comes to your house. You know they're coming, so it's not a surprise. And they give you an envelope that has your scenes in it. And they sit in the car outside for a half an hour while you read your scenes, then they ring your doorbell and you give your scenes back. Then you shoot the movie a few weeks later or something. The next time you see your scenes is the night before you start shooting. I never read the script [Blue Jasmine], so I didn't really know what it was about.
As a therapist, I know that when you're vulnerable, the best way to move on is to admit your vulnerability, don't beat yourself up for it, and try to find a way to analyze your vulnerability. Pull up your socks and try to do better for you and your family.
The future's so random, and so mobile, there's no way you're going to get to your vision of what you want your community to be just by chance alone. I really believe you have to let people know, to use your voice, to say, 'this is what I like about my place, I want to keep it this way, this is what I think can be improved, this is what I disapprove of.' That's the only way you can have a part in shaping the future.
Find your balance and stand with it. Find your song and sing it out. Find your cadence and let it appear like a dance. Find the questions that only you know how to ask and The answers that you are content to not know.
We artists can only go so far as the people can follow us. We are not alone, we are part of the system. We can take risks, but if you want to go to the peak of your consciousness, you may very well find yourself alone. Even if you know how to translate what you see, maybe only ten people will be able to understand what you tell. But, if you have faith in your vision, and retell it again and again, you will start noticing that, after a time, more people will begin to catch up with you.
You can rely on your team to do their jobs, but you have to carry the torch and do anything you need to, not just to shoot and finish, but to get the film seen. You have to know within yourself that you're going to have to take this. Don't sit back and think other people in your team are going to make it happen now because you've done your part. You have to carry that torch, and no one is going to care as much as you do, and nobody is going to live with it as long as you are because it's your film.
The longer you wait to decide what you want to do, the more time you're wasting. It's up to you to want something so badly that your passion shows through in your actions. Your actions, not your words, will do the shouting for you.
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