I think the problem with growing up and idealizing self-destructive artists is that you only see the beauty they created rather than all the pain that went along with it.
I wanted to be a playwright in college. That's what I was interested in and that's what I was moving toward, and then I had the lucky accident of falling in love with film. I was 19 or 20 that I realized films are made by people. Shooting digitally became cheaper and better. You couldn't make something that looked like a Hollywood film, but you could make something through which you could work out ideas. I was acting, but I was also conceiving the plots and operating the camera when I wasn't onscreen. I got very unvain about film acting, and it became a sort of graduate school for me.
I think when you're a teenager, you always feel as if life is happening somewhere else - it certainly isn't happening to you. And then you get to the place where you think your life is supposed to be, and you look around and realize it doesn't exist.
As a kid, I was a big reader. Books and theater were the way I understood the world, and also the way I organized my sense of morality, of how to live a good life. I would read all night. My mom would come into my room and tell me I had to go to sleep, so I would hide books under my bed. At first I had a tough time getting through novels, so I read plays, because a play is generally shorter and has all those tools for getting people hooked early on.
I think being attracted to mistakes is one of the things that film can capture in a way that theater can't. Film can capture a moment of spontaneous life that will never be captured again. I like a lot of structure and a lot of lines, but then within that I make room for things to happen that you couldn't have predicted.
I'm far too middle-class to morally object to a paying job.
Everybody's got a dud. You can't get out of it. That's the price of admission: you'll get some duds. You'll get some things where you missed a little. It's a crap feeling when you're going through it. But the main thing is as long as you're not doing anything for cynical reasons, then you'll be okay.
There's no such thing as cheating when you're 18. That's just true. I'm very endeared by this notion of the way adolescents practice being grown ups and practice for adult morality. I remember when I was 15 and people were starting to date and someone cheated on someone. They'd say, 'He cheated on her. You know what they say, once a cheater always a cheater.'
I think I'm pretty committed to staying. I'm not committed to not doing big movies, but I am committed to continuing to make smaller movies, not for the sake of making smaller movies, but because I think it's really invigorating to just go work with people and know that it might be awful.
I think... I love Los Angeles. I live in New York, and I love New York as well, but I think Los Angeles is a place where if you have the right person with you, there are all these little worlds that you would never guess by just looking at the exterior of what the city is.
I think in general with micro-budget films right now, it's rough. The economy is rough. I think that affects everyone from big filmmakers to tiny filmmakers.
A lot of my friends are struggling. A lot of my friends didn't make movies, which was really hard and sad. I'm good friends with this film collective, Red Bucket, which made Daddy Longlegs and The Pleasure Of Being Robbed. They're climbing the walls. They're all making cartoon booklets now, because they can't raise the funds to make another movie. But I think that when it returns, which it hopefully will, there will be another surge of energy.
I'm interested in the feeling of getting to zero after a play, like you're never going to do it again. That's a really scary feeling.
I like people who love books and movies and art and want to talk about it all the time, because that's basically what I want to talk about. Intellectuals that are funny.
Using the energy in a scene can really cut the fat off of something and streamline it. It can make it work for you and activate it for you in a way.
In relationships, you learn a million things. I'm sure a therapist can tell you about it.
There's an economy in sports that I always think is a useful metaphor for acting. You have an objective. You're trying to win, and of course, you want to do well. You want to use good techniques so you enforce it, but also you don't do things you don't have to do. It's very economical, and I think that in acting the most economical way through a scene is always the best. It's active. There is the sense of the fight and you want to win.
I'm just a relationship girl. I fall in love and I usually have long relationships. I like getting to know people well and having substantive, long relationships.
I was a ballet dancer. I did other kinds of dance but ballet was my great love. But then it became clear, when I was 12, that my body wasn't going to be right. That's always a heartbreaking moment because there's nothing you can do about that. Your body is just not right. You don't have enough turnout. You're not built properly.
If you're with one person, then you don't have to meet other people. It's like when you're acting in a movie, you don't have to audition for other movies. I prefer that.
I can say I'm a relationship person, and I like relationships. I think I also like relationships because then you don't have to date because dating is horrible.
I love shooting in New York because I love the city. Ultimately, I like doing it there and the city is important to the story, but it can be hard to shoot where you live too because it is so all-absorbing.
I think any break-up from a long relationship has this accompanying feeling of who am I without this person. You feel like a half-person because you've integrated yourself into an idea of a couple for so long, and then teasing that out and finding out who you are without them, it just takes a while. It feels like an amputation.
I think it's really hard to work in a city where you live too, because I get so absorbed with the movie that I become a bad friend and a bad participant in my own life.
In college, it's very easy to maintain your female friendships because you're in such close proximity all the time.
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