I smoke till I got chest pains
Every documentary is subjective. It's a total lie to say there are objective documentaries.
I don't think the concept of "directing actors" exists in the sense that if you get what you order from an actor you'll always get bad acting. Every actor is scared just like a regular person.
I had worked in fiction a lot before I started making documentaries, but when I was around 32 or 33-years-old I suddenly got so fed up with the world of fiction, which is so money-centered.
I like to get something that is impossible to verbally order. Sometimes it's something the person is not even conscious of, and it's something you could never ask of them specifically. It's just there.
When I auditioned actors I never make them act. I choose a long symphony, then I tell them to sit down and I play the symphony for them. Then I sit and I look at them. I always pick a piece of music that has up and downs, very dramatic parts, very quiet parts and really sensitive parts so that it can produce different emotions.
I went to England when I was 13-years=old and then I went again when I was 14. When I went for the second time I felt like the first summer I was there it was a waste because I didn't exist yet.
The hard and stiff will be broken. The soft and supple will prevail.
I'll use the knives for spreading jam, and the gas to warm my greying love.
I feel the urge, familiar now, to wrench myself from my body and speak directly into her mind. It is the same urge, I realize, that makes me want to kiss her every time I see her, because even a sliver of distance between us is infuriating. Our fingers, loosely woven a moment ago, now clutch together, her palm tacky with moisture, mine rough in places where I have grabbed too many handles on too many moving trains. Now she looks pale and small, but her eyes make me think of wide-open skies that I have never actually seen, only dreamed of.
In some ways it is absurd for me to assert, counter to evidence, that I have not been writing.