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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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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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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We need cultural awareness and a cooperative approach with other countries versus a dominating approach.
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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 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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#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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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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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 find it so hard to make films about my own region, but it could happen.
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Make your film for the least amount you can.
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I'm a trudger.
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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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'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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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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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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Some people have these small, positive schemes for survival, a kind of strength that I am attracted to, maybe because I'm prone to the blues.
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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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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.
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In Hollywood, only a female who's massively damaged is interesting.
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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'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.'
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I think, in some ways, that is the balm of stories, of fables, of tales: it's the way we're wired. We have always needed to distill what we're going through and try to understand it by looking either backwards or forwards. And the hardest is to look in the now.