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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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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There's a lot of journalism about poverty, but sometimes it just helps to see that there's a real person who becomes a real mom, who is working with unsustainable wages that could eventually destroy her.
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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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I'm a trudger.
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We need cultural awareness and a cooperative approach with other countries versus a dominating approach.
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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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#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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I find it so hard to make films about my own region, but it could happen.
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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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Make your film for the least amount you can.
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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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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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You can't make movies without known names, and unknowns can't become known, because they can't get work.
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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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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 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 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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We just started filming 'Stray Dog' really close to the finishing of 'Winter's Bone,' down in Southern Missouri.
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In Hollywood, only a female who's massively damaged is interesting.
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I will always face the conundrum that the subjects I'm attracted to aren't essentially commercial.
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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.