Zitat des Tages von Bennett Miller:
I think I approach things with an outsider's perspective.
I definitely have moments in my life where I discovered a film, and the language of the film itself spoke to me in a way, as if someone came up to you and started speaking a language you'd never heard but understood and was able to express things the language you knew could not.
It's important for an actor to feel like they're really being watched and to receive feedback and encouragement about the aspects of what they're doing that feels truthful - and also to raise awareness when they might be resorting to habits and tricks, which every actor has.
There is a paradox in politics that what it takes to get elected is not necessarily what it takes to govern, and my feeling is that trying to control things too much feels icky to me.
As a filmmaker, you're looking to reveal something. When other people relate to it, it makes an otherwise lonely world a little less lonely.
Filmmaking requires the participation and cooperation of many people. It's unrealistic to expect that you're not going to be challenged by unforeseeable forces from every direction.
I feel like what I'm after is not easy for me to find, and to want it to be easy... it would be absurd for me to have that ambition.
I like to rehearse to the point we're in the ballpark, and expect that we're only going to get one proper take, more or less.
I don't know of a filmmaker who does not feel buoyed and lifted when their peers embrace the work.
There's really powerful and potentially dominating forces when you make a film that can harm it if you're incapable of orchestrating things.
I want to work with performers who really are ready to lose their minds, you know? People who are established and have talent, but who are ready to break new ground and really be cracked open in a new way.
I don't want to sound too spiritual, but when you are true to yourself and follow through with things that connect with you meaningfully, somehow things fall into place.
I am attracted to characters who are in worlds where they don't belong and who have great ambitions that they imagine will somehow reconcile themselves with the world and make things right.
Making a film is a challenge.
I'm interested in telling stories that add up to more than the entertainment of the story. That's what does it for me.
Capote is one of those people who represents something larger than himself. I think that his ambition, his kind of success, and the downfall that followed are very contemporary.
I've never even watched one of my films since they're completed.
Mark Ruffalo is Mark Ruffalo - no explanation needed. He has the biggest heart of anyone I've ever met, and he's sort of the Dave Schultz of the entertainment industry.
People are attracted to entertainment, for sure, or jokes, excitement and romantically heightened stories that might be false, but are still attractive fantasies.
My nature is to try and look past apparent truths, to pull back layers and understand the psychological motives behind phenomena.
It's hard. It's hard to get a film made properly.
You can recognize almost immediately if the film you're watching is the product of some kind of a hive mind or the result of a personal vision and genuine collaborations. 'Manchester by the Sea' reminds us of the potential of the latter and, for that reason, is the kind of work that makes me, as a filmmaker, want to continue. It's inspiring.
Every film requires a different process. You learn about these particular actors and the particular chemistry between these actors. Recognizing when you don't need to shoot a scene because it's going to be cut anyway.
Sometimes the facts can get in the way of the telling of a good story. But they don't get in the way of the truth.
You make a movie and you'd like it to be appreciated, respected, embraced.
I have a tremendous amount of patience and tolerance when working with people, but if I ever feel the impulse to inhibit myself from doing one more take, or feel a need to apologize to someone for pushing, I know that that relationship isn't gonna last.
My entire life can fit into a knapsack.
Every relationship probably has, at its inception, a hundred things that you could pick on and divert you from it, but the feeling is there. You figure out a way to make it work.
I don't believe in God in the way I often see described by religion.
I am attracted to these outsider characters who just don't belong anywhere, and who are operating in worlds they sort of don't fit, coupled with huge ambitions.
What I will say - one thing that is attractive about getting a real film made within the studio system is that studio systems, with their marketing and distribution, have real power.
Kenny Lonergan, as a filmmaker, doesn't tell stories so much as he observes them, which is to say, his films don't come pre-digested. You have to bring your own enzymes. It's a more gripping and challenging experience.
I like going into a scene knowing that the script isn't quite finished, that there's something that isn't really going to reveal itself until something spontaneously occurs.
The version of 'Moneyball' I pitched - and we made - is about a guy, Billy Beane, who thinks he's trying to win baseball games. But it's deeper than that.
I do have that compulsion to organize moments into a larger thing.
I am attracted to anything that does not feel derivative.