Karyn Kusama Quotes
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What makes a lot of suspenseful films work is very, very particular points of view and very subjective use of the camera.
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I think most women have to fight very hard for the opportunities they want, which isn't to say that most artists don't have to do that, male or female, but I'm definitely aware of just how difficult it is to find stories that interest me, particularly.
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I don't think I could have had a better experience than I did with 'Girlfight.' It was a humbling experience to be so well received. And it was equally humbling to be ripped to pieces with 'Aeon Flux.'
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As bad as some movies can be, good movies are also possible, sometimes through the very heinous corporations we love to trash.
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I think the crux of this urgent and real conversation about representation and diversity in art-making and storytelling both behind and in front of the camera ultimately has to do with simply seeing more human perspectives.
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I ultimately am probably a pretty anxious person.
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I want to make big movies - but I don't want to have to die a little death every single time I do. Until I meet the people or the studio or the business people who will let me do things a little bit more the way that I need to do them, I probably shouldn't be making big studio movies.
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It's freeing to be able to consistently make creative decisions and ask creative questions of the team without feeling like, 'Does this make me vulnerable to getting canned?' That's a big part of being in a studio - they can always fire you.
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I've been asked countless times, 'Why are you drawn to horror films? Why do you think women are drawn to horror films?' And it's because, in a way, it's one of the few genres that tells it like it is. A lot of times, women do feel like they're running for their lives somehow.
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I get why we don't want to be in pain, but there's something very essential about what happens when we're in pain and some of the growth that can come from it if we stare at it straight in the face.
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There's something about the girls and the boys who just live for the moment and don't think a second beyond their needs and the here and now that, ultimately, is pretty tragic.
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For me, there's something about a certain kind of genre film that has real potency in its emotional landscape.
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I was lucky to work with Gamechanger Films, who are a consortium of investors financing films directed by women. This is a company that puts their money where their mouth is.
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I do think there's a preoccupation that women understandably have with this idea of the roles we're meant to play and whether or not those roles serve us or ultimately kind of imprison us.
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It's pretty gratifying to spend so long to make your first film and then feel like it got a lot of love - that was an incredible feeling. But there's something very distorting about that much attention. It felt like such a double-edged sword.
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I was in a very lucky position to be able to consider studio films and had decided to not go that route for a very long time until I read a script that I loved called 'Aeon Flux.'
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I feel a kinship to the idea of beloved stories and beloved pieces of art that we can imagine in different ways and sort of take a meta approach in terms of what those stories offer us.
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I grew up in the Midwest. I understand a sense of the small-town mentality, small-town social politics.
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Sometimes you realize that the thing an actor is asking for isn't exactly the thing they want. Maybe they're asking for more dialogue, or maybe they want a deep intellectual exploration of their role. But probably what they really need is encouragement.
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I understand the power of sorrow, and I understand how far it can take us from ourselves if we let it.
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I think that there's something about short films that just kind of keeps your muscles sharp.
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I've experienced a lot of successes. I've experienced a lot of failures. I've been able to get back up on my feet and keep going.
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I'm strong-willed, but that doesn't mean I can't work with people if we're all in the mission of trying to make a good movie.