Zitat des Tages von Sarah Gadon:
The lack of available, good work inspires a lot of people to be self-creating.
When I sit down with filmmakers, I feel like we speak the same language in a lot of ways. We watch the same movies and have the same influences. If anything, it creates a dialogue that makes my work more effective.
It's the people who are more insecure who feel the need to control and micromanage. But that's true of any profession and hierarchy with a boss. You have people who know you are competent enough to do your job, and then you have the ones that just hover around.
You have to find your projects and track them as they go along that long process of being made.
Without disruptions in life, where would we be?
It's particularly important for a young woman to be in control of her image - to a certain extent. I mean, there's only so much you can do, because people take photos with you and then all of a sudden they pop up all over the place, they're completely out of context and you have no control over how they're used.
I wore a pink Betsey Johnson dress to my prom, and I pretty much looked like a pink cupcake. I loved that dress!
I fell in love with filmmaking. I fell in love with criticism. I fell in love with theory, and it made me really dogmatic in my approach to choosing roles.
Since 'A Dangerous Method,' I've had meetings with everyone from J.J. Abrams to the producers of 'Drive.' And they all have the same thing in common; they say: 'Wow you worked with Cronenberg.' He gave me instant film cred.
I'm trying to be a working actor. I'm not in pursuit of fame. I'm not trying to be in the kinds of films that make you famous like that.
Film is an art form. Dissecting and understanding it is a part of our own interest in humanity.
The Queen is not supposed to have a favourite or prefer anything. From a very young age, they are taught that if you fall down, you don't make a face; you keep your emotions under control, and you don't let other people know what you're feeling. That's a very different kind of way of thinking from how I was brought up.
I read a lot about her. I read a lot of bios. I read bios about the royal family; I read this little novella called 'The Uncommon Reader,' which is a fiction: it's about Queen Elizabeth going on this library bus and choosing books and reading them, but it's so sweet.
I have a regular life, and I do that intentionally: hanging out with my friends, cooking dinner for my boyfriend.
When it came time to go to university, I wanted to study cinema studies and theater and not necessarily do a fine arts degree.
I'm part of a generation that's saying, 'I don't want to do just one thing, and I'm going to do things the way I want.'
My grandmother is British. She was in the Women's Auxiliary Air Force during World War II. That's where she met my grandfather, who was sailing for the British Royal Navy. She was a war bride.
When you look at something that's so extraordinary, like a man who is traveling back in time to prevent JFK's assassination, for me, as an actor, you're still trying to seed it in some sort of reality.
You can have a bunch of great actors in a film, but if you don't have anyone telling a great story, it's a moot point.
The kinds of films that I'm used to doing are independent films. They're very small character-driven pieces, and there isn't as much spectacle involved.
When you fall in love with favourite movie stars, it's not because they're movie stars and unattainable, but because they show you sides of themselves that are extremely personal.
It's fun being a princess, but it's not very practical! You're trudging through the forest and the mud and all of the elements. You kind of think, 'How did they do this back then?' Thank God I can put on my Nike trainers and walk around the rest of the day!
I prefer the European films that are like, 'No, it's over! They both die. The End.'
I look at scripts, and sometimes I apply theory to them. For 'Antiviral,' for example, I was reading Laura Mulvey's 'Visual Pleasure and Narrative Cinema,' and it was all about the psychological process by which we fetishize the female image. It's all about scopophilia.
Sometimes when you're working on a period piece, there's this tendency to be nostalgic about the period and do everything superglamorous, which can end up looking cliche.
I was getting a lot of pressure to go to the States, but I never really wanted to. I saw Cronenberg forge his own path, and that made me believe that I could do that, too.
I think everyone's had that moment where you're sitting there in class and notice someone for the first time.
I wore Armani Prive to Cannes, and that was incredible. The craftsmanship is something I never understood until I wore it: the structure, the integrity of the fabrics, the colours, how things photograph.
I think I'll always base myself out of Toronto. I don't have any plans to move to L.A.
I do build my own backstory as an actor. It's important to know where your characters have come from in order to know where they're going - in order to exist in that state of being.
Should 50 per cent of Telefilm's projects be helmed, produced, or written by women? I think so.
Working with Mr. Armani is such an incredible experience because he's so creative and such a visionary, and Linda Cantello is amazing and a true artist.
It's so often that I read for the bouncy, sunny girl men fall in love with who will solve all the romantic problems in the narrative. I don't choose to work that way.
