Debra Granik Quotes
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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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We just started filming 'Stray Dog' really close to the finishing of 'Winter's Bone,' down in Southern Missouri.
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'Winter's Bone' really suited having a lower budget. It would be so hard rolling into a rural setting, a place where people are poor, and to be thinking you've got $10 million to make a piece of entertainment.
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There are so many American experiences that we can't know about unless we venture out to create a dialogue, to observe, ask questions, and stay there for a while.
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#TimesUp is you can't hold it in anymore: Time's up! The doors have to give way. It can't be that every 27-year-old born into a male body is a designated genius. It can't be that the language used to review male and female films is different.
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When I find those actors who are going to work that hard and collaborate that deeply, my role is to make sure there's a whole lot there for them to work with.
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I bring forward stories from the lives of everyday Americans: those whose path hasn't been set out on easy street or who haven't been given it all, those who are actually forging ahead because of their own personal resources, their moxie, their survival instincts.
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I like to make films about how people survive living in the United States.
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There's all these costs of war, and they're huge and long-lasting. It's not just the numbers CNN broadcasts. And we never want to pay the VA bill; we never want to pay the bill to take care of these warriors after we applaud their sacrifice.
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I love to champion some of the hardworking actors where, it's been said to me, they don't bring money. But to me, they bring everything. They bring their wonderful selves.
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My producing partner and I were shown a novel we really liked. It was called 'My Abandonment' by Peter Rock, and we enjoyed reading it.
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I'm a trudger.
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You have so much more time to observe and learn with a documentary because of the time between the shoots. You get a much deeper understanding of day-to-day life and its themes. It's also much more of a mess after three years; you have to comb it out carefully and see what fits together and makes sense.
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You can't make movies without known names, and unknowns can't become known, because they can't get work.
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I would fail if I had to work with stars. And I also can't afford to work that way. I can't afford to have special circumstances for rarified individuals. So, I work with actors who have given me a sign that they're willing to work in these more humble circumstances, in real-life locations.
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I always think that my assignment is to seek out stories that are experienced by people who don't get the ticket for Easy Street.
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I find it so hard to make films about my own region, but it could happen.
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We need cultural awareness and a cooperative approach with other countries versus a dominating approach.
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Make your film for the least amount you can.
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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.
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The social-media discourse is very different from what it might be on the ground. It's easy to bloviate without having to look anyone in the eye and then having those sentiments swell and amplify and go viral.
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Some of the subject matters that I like to make stories about are definitely not inherently commercial. So I have to look for a very special kind of financing and go down a very gentle path in order to make my films, as do basically all social-realist filmmakers. It's a long process.
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I swing with a lot of torque from non-fiction to fiction, and I really like that place in between.
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I'm looking for a living wage and to continue my work. The frustration comes from when I can't do the things that matter most to me. It's when someone comes and says, 'I will finance your movie if you cast so and so.'