Xavier Dolan Quotes
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I've been recording forever. I'm a watcher. I'm a stalker. I love everything about people. It's always been a passion for me to observe.
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The problems I have with a flawed script are always revealed in the editing room.
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I have struggles in screenwriting that lead me to a third act that's always more or less efficiently wrapped up in a fourth act that's trying to give closure to too many things.
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To me, the idea of success is to be able to work with people you admire.
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I feel like Adele is a diva. Not in the bad way. She is one of the greatest voices of this industry and of her own art. What she offers is so unique that she's risen to such a status that very few artists can enjoy.
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I have a strange relationship with influences because mine are mostly literary or painters or poets, who I'll even quote. I don't do tributes to cinema.
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The motivation for making movies is that people actually see them.
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I got a part in a package of commercials for this big drugstore from the age of 6 to 10. For four years I shot those commercials, and old ladies would stop me on the street and grab my cheeks. That's how it started.
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Sometimes I find it tiresome to write actions and describe the scene in a very intricate way so that every crew member understands where we are going - that I can find a little bit long and tiresome. But dialogue is just all my life. There's no way I could ever be challenged, not challenged, but I'm always so happy to write dialogue.
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Cinema is a thankless industry where sometimes to appear on the cinematic scenery is a thing for late bloomers and people who are very patient. The places are accounted, and the space is often unwelcoming. Money is rare, and independent voices are muted by the almost complete absence of risk takers.
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Here's the thing with the costumes for 'Mommy': Given the background and social strata that the characters come from, you can't really imagine that they've gone shopping lately, so we went for that very normcore, fashionless era in history, the early 2000s, which was completely transitional.
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I don't think the way I portray mother's and son's relationships has anything to do with my age or generation. It has to do with what I lived with my own mother and what it's transformed into and the point of view it has given me on mothers and women. The way I was brought up with women. It's all about personal background.
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The father figure doesn't impress me. I have a very friendly relationship with my father, but that wasn't always the case. My mother had custody, and I only saw him every other weekend. I never knew him well enough for him to inspire me.
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All my life, I heard, 'Stop daydreaming,' 'Get over yourself,' 'You'll never get there,' 'Aim lower,' 'You'll hurt yourself,' from teachers, family, and friends.
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When I saw Bryan Singer's 'Usual Suspects,' I knew how it was going to end because I'd seen 'Scary Movie.' Which is not the preferred order of things, but that's how it is because my childhood was 'Home Alone,' 'Matilda,' 'Batman Returns,' 'Jumanji,' 'Secret Garden,' 'Jack,' 'Mrs. Doubtfire,' 'Titanic.' Only family films from the '90s.
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It's ludicrous to think people work for you: 'a film by...' doesn't exist. Directed by, maybe, but it's a film from a collective, a group of people whom you consult and seek your counsel and advice and vice versa, too.
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Men are born privileged in the scale of things - I'm generalizing, but it's true. Women have to define themselves in the eyes of men. They have to fight for their rights, especially in a society that will pretend that there is no fight or no battle, that it's a cliche, that feminists are reactionary, all these things.
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Six years, I didn't act. Then I wrote myself a role - I won prizes all over the world.
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In 'Laurence Anyways,' Nathalie Baye is Laurence's mother, and she is quite an awful mother. Still, she is the only one in the end who truly accepts her daughter.
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Music was the only voice of cinema for a very long time before we had sound; it's organically linked to cinema itself.
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Orson Welles was lazy. He was a late bloomer.
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I plough all my money into my next film, so I never actually have any money. It's always invisible.
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No one knows me in the States because the movies have been released in such an awkward, irregular fashion, all by different distributors. There is no continuity.
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When I first got to Cannes, I was very insecure about everything, so I put on this extravagant facade. Can you blame me? I was 19.