Debra Granik Quotes
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My ego is one thing. Of course I want people to like what I do. Of course. There's no doubt. You wouldn't do it. But I think what people don't fully know is how responsible you feel for so many entities. So many hardworking people who've collaborated.
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People need meeting places. You need places where ideas get exchanged and you see each other's faces once in a while.
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I come from what they call the land of nowhere. I'm from the suburb. It's extremely atomizing.
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It's kind of a test when you read a novel thinking about its potential for the screen: How does it play on your mind's screen?
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I'd love to do a comedy - something where a character has to use humor to navigate the absurdities of life.
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The challenge for me is to make sure I've done my work. To make sure not every scene is quiet, that other scenes rise up, that there's different tension.
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There has to be a continuation of the communal experience of filmgoing.
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Films set in 90210 are ten a penny. But there's rarely room to make films about a different postal code, to show the lives of ordinary Americans who have to live with very limited material resources.
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It's almost like Time's Up allowed some really good old-school players to stand up and say, 'We're actually just really normal companies that want to facilitate culture-making. Some of us are even in it for the slow returns.'
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American film isn't just film and glamor and fame and the lives of people who are fortunate financially. Those aren't the only stories in this vast nation. That's my mandate.
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Sometimes you get ensnared by an idea, and it's what I call 'the sticky burr': You go hiking, and a burr sticks to you, and that's the film you're going to make.
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What does it really mean to have something change in you very late in your life, after you've structured your life in a different way? What does it mean to be someone who has had a history of sometimes reckless living, and then to really want to change yourself?
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Social realism takes research.
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In documentary, you are sometimes burdened, or you feel very responsible for dealing with - I want to say - more complicated themes. Fiction allows for greater distillation.
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We just started filming 'Stray Dog' really close to the finishing of 'Winter's Bone,' down in Southern Missouri.
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I feel as though perhaps there's not a great match between the content I'm attracted to and the content that is considered attractive to some of the more major or more traditionally financed entities.
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The time that it takes to make the feature is really contingent on the feature being sort of almost ready-made - so coming to a book is more ready-made. You at least have the story that someone sorted out.
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I'm interested in the lives of Americans for whom the ways this culture has tried to define itself - that is, self-esteem defined by material wealth - they have nothing to do with that.
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Emerging actors know there's a whole lot to learn each time they are spending with someone who's done a lot.
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I don't want to make fictional characters who are perfect - that's a vanilla situation - but the fact is you are allowed to more carefully select and curate what it is you're going to explore.
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What I would love is for people to see some of the stories I want to tell.
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When I read Daniel Woodrell's novel 'Winter's Bone,' I was drawn to the characters, the setting, and the sound of the dialog.
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I'm doing my best to stay off that financing scheme that relies on this one strip of capital, which is the red carpet. And - no sob story - but it's hard. It takes a while.
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Festivals are where I see other peoples' films, where we talk, where I get to learn what was working about the film, I get to have a discussion with viewers... and people who enjoy reading films - I enjoy reading other peoples' films, and what discussions can come of that.