Karyn Kusama Quotes
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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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I don't want to direct a Marvel movie. I don't care about those mythologies.
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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 ultimately am probably a pretty anxious person.
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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'm very interested in dysfunction. I kind of realized in my first film that a character with so much rage that she didn't know where to put it was both heartbreaking and interesting to me.
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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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For me, there's something about a certain kind of genre film that has real potency in its emotional landscape.
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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'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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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 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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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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I grew up in the Midwest. I understand a sense of the small-town mentality, small-town social politics.
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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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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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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'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.
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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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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 think that there's something about short films that just kind of keeps your muscles sharp.