Debra Granik Quotes
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I get very caught up in the day-to-day and immersed in the scenes as they unfold. It's harder for me, as I'm filming, to see the larger story.
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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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I like to make films about how people survive living in the United States.
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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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'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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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'm a trudger.
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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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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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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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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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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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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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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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You can't make movies without known names, and unknowns can't become known, because they can't get work.
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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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We need cultural awareness and a cooperative approach with other countries versus a dominating approach.
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I find it so hard to make films about my own region, but it could happen.
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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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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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Make your film for the least amount you can.
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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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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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The Oscars have always been an arena in which very commercial films are recognised, and I don't mean that in a bitter way; I just didn't ever look in that direction.