Did you say cheesy? Cheesy is one of the words banned in my world. I’m tired of sincerity being something we have to be afraid of doing. It’s been like that for 20 years, that the entertainment and art world has shied away from sincerity, real sincerity, because they feel they have to wink at the audience because that’s what the kids like. We have to do the real stories now. The world is in crisis. I wanted to tell a story about a hero who believes in love, who is filled with love, who believes in change and the betterment of mankind. I believe in it. It’s terrible when it makes so many artists afraid to be sincere and truthful and emotional, and relegates them to the too-cool-for-school department. Art is supposed to bring beauty to the world.
“I don’t feel the need to be part of the next ‘successful blockbuster.’ I don’t care about that at all. I just want to make films that are close to my heart, with people who interest me.” ~Robert Pattinson, FAQ magazine, 10.17
Adam Elliot (Harvey Krumpet, Mary & Max) was born with a physiological tremor and he shakes more than most people in that condition, which is still hard for me to fathom.
“Because animation is all about intricacy, this means my models are bigger. They’re designed to make it a lot easier for me to move them. My condition has actually fed into my style – my characters look the way they do because of my disorder and it’s also why my drawings are wobbly, with very few straight lines.”
Buster Keaton, for instance, protested to the end of his days that he had no notion of what his admirers were talking about when they spoke, as Andrew Sarris did, of his “cerebral” qualities, or when they detected a pervasive surrealism in his films that - considering the period in which the films were made - virtually placed him in the avant-garde. "I was just trying to get laughs" was his constant and stubborn answer to questions. Keaton was, in fact, a brilliant analyst of film, as his dazzling film-within-a-film in Sherlock Jr. indicates: the sequence illustrates basic theories of continuity and cutting more vividly and with greater precision than theorists themselves have ever been able to do. But the analysis is not in Keaton’s head. It is in the film. He went past cerebration and worked only with the thing itself, creating what amounts to theory out of his body, his camera, his fingers, a pair of scissors. Art is often something done before it is something thought: Keaton’s impulses were not only stronger but more accurate than any verbal formulation he might have chosen to offer for them.
- Walter Kerr on film artist Buster Keaton, The Silent Clowns, Alfred A. Knopf: New York, 1975, p. 98
I work because I like telling stories. I work because I love the relationships I have with my collaborators. And I do it because I like connecting with people, and the easiest way I know how to do that is through filmmaking. I do it so that some kid in Thailand, or England, or Colombia, or Brazil, or Japan, or Russia, or anywhere, can hear the frequency of his or her own heart bouncing back off the Guardians.