Jean-Marc Vallee Quotes
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You've got to trust your instincts, your judgment and trust the storytelling that came before and the quality of the acting with the emotion.
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You get to become a kid again when you work with kids. They do crazy stuff.
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As a director, try to be humble and not to overdo it, not overcoverage and over-covering the scene.
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Whether it's in America, Quebec, or France, if I can tell a story that takes me out of my comfort zone, then I'm surfing.
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I was supposed to do only one or two episodes of 'Big Little Lies,' but I realized I couldn't just step away.
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There's a way of filming where you can get rid of the vanity and of trying to make something beautiful.
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I'm from the 'less is more' school. I had to be in the 'more is more' zone with 'Dallas Buyers Club', so I was out of my comfort zone, but I had to trust that.
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When I do a mix tape for my kids, for my friends, for my lover, I meticulously choose the tracks, and it's beautiful. And when they are alone they think of me - and when I am alone I think of them.
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I'm always aiming for some magic in films if I can find a mystical quality either in a song or in a moment or a character's intention.
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I look back, and I've got a couple of films, and I'm happy.
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I only made one film with a score, and I hate it. I hate the score of that film. It's not coming from me. I had nothing to do with it.
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I was born in 1963. So the '70s were my teenage years. As a teenager, I was into rock and roll - Bowie, Rolling Stones, Pink Floyd, even more progressive music like Genesis, and I was into a lot of British rock and roll. But I loved also American rock and roll. CCR, Jimmie Hendrix, The Doors, Patty Smith, and Bob Dylan.
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I love those films where I feel the director's confidence - where he doesn't need to overdo it with the shots and the cuts.
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I had written 'Cafe de Flore' with 'Stairway to Heaven' in mind.
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Rock was my thing. It influences me and moves me, and it's music that gives me ideas or wings to fly and to make films.
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I'm a writer and director, and I like to do that, but for some reason, it's become part of the industry and part of the job to go, 'Alright, let's talk about it!'
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It's tough to work with kids. Kids are animals!
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When I see great film, I have this feeling of 'Oh, wow! Wasn't that great? Wasn't that good?' I want to do something. I want to scream and go out there and participate and embrace life.
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I have two sons, and at 16, they were into Zeppelin, Pink Floyd, David Bowie, and a lot of British rock.
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Filmmaking is so heavy: there are so many people and trucks and teamsters and costume people and hair people and makeup people. I try to make it light and as simple as possible. It's great for actors. It puts the story up front. It's not about shots and dollies and lighting and sets.
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'Sharp Objects' was scary, unknown territory for me. I wouldn't pick this kind of material to direct if you just gave me the book. Amy Adams was the force that drove me in.
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I think we give too much importance to artists talking about the art and the film and the books and the plays and the music - it's done; the material is there. But we talk about it because it's part of the game. I'm comfortable with it.
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Just film what's there, trust what came before, one hour before, and make it easy.
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When you hear a solo piano, there's a solitude about just one instrument playing. It can be beautiful; it can be sad.