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But, it has something to do with having belief in a human future and what that human future is. What is the future of humanity? How does this whole experiment not self-destruct with the environment and everything else going on?

Brit Marling

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Brit Marling
Age: 42
Born: 1982
Born: August 7
Actor
Executive Producer
Film Actor
Film Actress
Film Director
Film Producer
Screenwriter
Television Actor
Writer
Chicago
Illinois
Brit Heyworth Marling
Whole
Belief
Going
Future
Something
Else
Doe
Destruct
Human
Experiment
Everything
Experiments
Humans
Environment
Self
Humanity

More quotes by Brit Marling

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I've found myself at one in the morning just sitting at my desk spending an hour returning emails from the day until like two in the morning. It's ridiculous, I should be sleeping, or dreaming, or reading a novel.
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If you play it safe every time, then you're missing the best part of acting. You haven't learned anything about your humanity.
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Being a waitress can be a very brutal job sometimes, and I remember during the training, the person said to me, The redder the lips, the better the tips, and that was like the only advice she gave me.
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The only thing that's important is that every day I'm waking and doing something that I really love to do.
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Writing so that I can act became a way of having not more control over my future but not having to wait for permission. You can choose yourself. Hmm, who should play this part? I nominate me!
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That's the funny thing about cinema, it is an intellectual medium, but it's also sort of anti-intellectual.
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I feel like I'm a much better person when I'm developing my imagination and my innocence and my vulnerability. I like that version of me better than the version where I'm just working on my analytical mind.
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I think there is a general unrest or curiosity about what a human future is going to be like, and whether the way we're living is even sustainable.
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I think one thing for sure that you learn the more films that you make is how important it is to choose your collaborators.
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There are so many filmmakers who are so talented, and actors and writers who work so hard, and it's really hard to let your work enter the world.
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When I was a kid and going to the movies I was overwhelmed by the way women were always second-class citizens in the film.
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I always feel like the editing room is like coming into the kitchen. What kind of a meal do you make from there? It can be anything.
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Once you play with these scenes and you're outlining it, again and again, and telling each other the narrative, and telling it to people you know, trying to make sure that the mathematics of the story work, you feel that those are in place, and the actual writing and final draft doesn't take as long.
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Living in Cuba made me unafraid of whatever could happen to me.
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I think I realized very early on that you can spend a lot of time constructing a really perfect scene in final draft and just end up throwing it away because you didn't figure out that mathematics of the story first.
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For some reason, I have a very strange conception of time. I am constantly hovering at some overview, more macro.
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I think the first thing I thought when I got out to L.A. was just: Oh, if I want to act, I have to find a different way to go about it because the parts for girls are as dispiriting as the banking jobs. You have to really be willing to invent, I guess, a different path for yourself.
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I believe in what science fiction can do, which is it can set up simple rules that it has to follow to try to illuminate something about the present that is somewhat invisible to us.
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I feel like success to me is about feeling like I have done something in storytelling, where I've gotten close to articulating something intangible that I'm feeling, and I think I get closer every time, but I don't know that I've done that yet.
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I get uncomfortable when people give me presents and watch me open them. I don't have birthday parties, because the idea of a group of people singing and looking at me while I'm blowing out candles gives me hives.
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