Luca Guadagnino Quotes
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I have a number of projects that I've been dreaming of making ever since I was a child. But I am also very open to the chances of life and the chances of my profession.
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The concept of muse is alien to me. To speak of a muse implies there is a couple in which one person is the objectified passive element - there to help the creative, active, often male part of the duo to create. A muse is very passive. Who wants a muse? I don't want a muse.
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Spare functional furniture, in my opinion, is the genius of 20th-century design.
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The point is that filmmaking is a collaborative effort; it isn't about imposing your vision on other people. It's about the talking, you know?
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My father is a teacher; my mother was a telecom employee. I come from Palermo; I was raised in Ethiopia. I am homosexual. I didn't go to film school.
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I think that making a movie is not just making the movie - it is also about having thoughtful ideas and embracing all the aspects of its launch.
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I am a film director, and I work with a visual language, with a visual medium. And I try to make virtue of the use of this visual medium. And I try to make sure what I do speaks the language of cinema.
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I come from a petit bourgeois family, and I've always been drawn to artists and people who choose their own way of life instead of being chosen by the lives that people want for them.
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I don't much like post-modernism, because post-modernist has become the basket in which every mediocre person can shuffle things and pretend to do something significant, and we could also mention who use post-modernism in this way - maybe we shouldn't.
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I'm interested in form, in the shape of things. And in commitment to the degree of never letting go the quest for the meaning of things. That can come off as beauty and style, but that's not where I start from.
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I grew up with a concept of cinema as a directorial thing, meaning the director is allowed to sail the ship. Not a dictatorial thing.
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I love to tell stories, but the making is less comfortable. I like to be private, and being in the middle of a film crew with the least amount of privacy is the discomfort of shooting a movie. For me, the editing is the great moment when I can bring back ideas and realize the movie for the last time before I hand it to the audience.
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I need to have a great deal of control and the ability to share my control with my collaborators and grant them the freedom and the quality of work I think these people deserve. If I don't have those elements, I walk away.
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I don't like post-modernism. It's cynical, and takes no discipline - you just copy. It doesn't allow a film to be open to reality.
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When you have great performers and have set your movie in the right direction, it's a beautiful privilege to let the camera watch the action unfold without spoken words.
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I think you should never be forced to be nice as an artist. An artist has to be uncomfortable in a way. Narcissistic and uncomfortable.
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I'm one of those directors who read reviews, even if they're bad, because I started as a film critic as a cinema student. I indulge in the art of criticism in general.
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Everything that goes outside the rules of Italian cinema has always been cursed.
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The concept of making a movie in which the director dictates is kind of exotic - and absolutely not truthful. Directing means allowing a great deal of collaboration and listening and having the ability to change your mind.
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I personally don't think that blood ties should be something that signifies so much more than anything else. I understand perfectly when somebody leaves their family for good.
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I think a script is great when it starts with the structure and works with the structure without falling into the typical three-act system in which the audience is ahead of the movie. I hate that, but that is like 99% of what I read.
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My secret desire is to be an interior designer. I'd love to make houses for rich clients who can afford to do things right.
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As a director, what matters is how you penetrate the soul of the person in front of the camera and let the actor blur the boundaries between the character and the person themselves. In order to achieve that, I try to make people feel at ease, to be mindless of problems and be skinless and give everything to the camera.
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When people think fashion is just the surface of things, I disagree very politely.