Jeannie, do me a favor. Don’t be silly anymore. Just be yourself.Faces (1968) dir. John Cassavetes
I initially got into movies because I loved Star Wars—so special effects and the wonder of that and seeing an illusion that feels completely real and the storytelling side of things. But now, it’s what you said about when you have you physical reaction. I go into movies hoping to have that—whether it’s an emotional experience that is very wrenching or something that feels like an assault or being provoked in some way, I really respond to that. I love movies that challenge me and push me around and that are difficult to digest—that’s something I value.The movies that I hang onto the most are the ones I can’t quite get out of my system because they’ve dug their claws into me. It’s something about the synthesis of all these mediums that are coming together in one. And then the one pure thing that is explicitly cinematic is editing, and that’s why I think I’ve gravitated towards that, because unlike every other art form—music is just auditory and paintings are visual, but you can look at a painting for however long you want—with film, you’re taking an image and explicitly saying, look at this shot for this long and then this one because the juxtaposition of those two are going to matter. It’s like alchemy, it excites me and fascinates me to no end. And whether it’s a romantic comedy or a really obscure experimental film, they’re both using the same language and I love seeing the interplay between those.Film is such a new medium. I often think what would I have done if I’d been born 100 years ago, and I think that people have always thought cinematically. You listen to composers whose music lends itself so well to movies and it’s because they were thinking cinematically before cinema existed, and that’s really exciting to me. I think poetry is the same way, it’s a very analogous medium to cinema and there’s very cinematic poetry out there that functions in its’ rhythm and its meter much in the same way that film does and the way it plays out over a period of time. There’s so much opportunity in the medium and so much room to try out things and use that language in new ways, it’s great to have an art form that can grow with you as you discover new things and it can change as well.
Maybe I’m just foolin’ you all.
Ain’t Them Bodies Saints (2013) ⟶ “Every day I wake up thinking today’s the day I’m gonna see you. And one of those days, it will be so. And then we can ride off to somewhere. Somewhere far away.”
I really try not to think too much about other movies when I’m making a movie. When you’re in such a fast-paced emotional, arduous situation, it’s very easy to just fall back on things you seen before and what I try to do more than anything else, is just use feeling and gut instinct to guide my way. So a lot of that comes from music or literature or other art forms, and rather than trying to copy or transpose, say, a song into the movie, I could quote lyrics—and I’m not above that because I did that in this movie—but more important than that is trying to approximate the way that song makes me feel. If that song makes me feel a certain way, I want to find a way to use the medium of my choice to use that same feeling and that same tone in the form of a movie. I read books while I was shooting, I listened to music, I’m just always trying to wrap myself around…a feeling that I’m trying to communicate. And to me, that’s more important than storytelling. I love stories, I love characters and they certainly take precedence, but in the perimeters of the beginning and the end of the movie, I want there to be this beautiful arc of tonality that is just something you can experience and luxuriate in.
He might be young, but he really cares about his team.
Maiyet NOWNESS “Sleepwalking In The Rift” - Directed by Cary Fukunaga