Quote

Well, I had a wolverine. It was supposed to be a cat, but Jason (Patric) is allergic to cats. I can't remember where I got it. Some back alley taxidermy, maybe? But I think I got it at The Bay taxidermy department. Downtown Winnipeg. Next to the tumbleweeds.

Guy Maddin

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Guy Maddin
Age: 68
Born: 1956
Born: February 28
Actor
Camera Operator
Cinematographer
Film Director
Film Producer
Screenwriter
Winnipeg
Manitoba
Think
Cat
Wolverine
Thinking
Supposed
Alley
Maybe
Allergic
Next
Alleys
Remember
Downtown
Back
Jason
Wells
Cats
Winnipeg
Well
Department
Taxidermy

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No one ever gets to see Foley artists at work, and they're so strange. They see the world differently: things as things that might make sounds that sound like other things. They see the whole world that way - like when you're a house painter, all you see is a bunch of houses that need painting.
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When I started making films I just decided I'm the filmmaking equivalent of a garage band and I'll just make my garage band movies. But even the same musicians from garage bands would go to my movies and you could tell what they liked from the way that they dressed and they would be the first ones to walk out.
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I've long believed that anybody who is in the act of remembering childhood is a poet, because you're thinking back on times when you were making false models of the universe. Everything is kind of irrational and poetic then.
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Those are my goals, you know. To be smart, tasteless, and feeling. Something to shoot for.
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But in the act of attempting to imitate I discovered that I had a voice of my own. Whether I liked it or not was another matter. I found that I was my best or that I pleased myself most or came closest to my goals when I was tapped into something autobiographical.
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I think I've indulged in a pathological, chronic nostalgia over the years, which I've traced back to my childhood. I was the last of four children, born well after the other three, so I was left on my own in a big, quiet house where most of the people had left, and even the echoes of a happy family had all died out.
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In many relationships that I've had people just try to own the other person.
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Hollywood isn't exactly dragging me, or even aware of me.
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The bone-breaking thing is something that I put in many narratives.
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Shredded feelings are the fuel that feed the machinery of melodrama. And good melodrama just has honest feelings and is honest about the way people interact.
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I probably live in the best province for independent filmmakers. Manitoba has a sort of thieving-magpie approach, trying to lift productions from other provinces as well as from other countries. It makes it very hard for me to leave.
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I wandered around in a confused daze for most of the '90s unable to even remember why I wanted to be a filmmaker and somehow I found myself at the turn of the century. I used lost film as an excuse to express myself.
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I've never made movies to reach millions of people.
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I literally designed and built the sets myself, and I kind of liked it. I always gave myself eight weeks to do that - sometimes even 10 - and the shooting took five or six weeks.
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I like going out to popcorn-munchers.
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I feel the need to chastise myself. A movie that's a partial musical, full-on melodrama, should require a tremendous amount of planning.
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I love melodrama. I love the simple fact. When you read Euripides he's a page turner. It's like reading a Mexican comic book romance.
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I went to see Chicago after I finished shooting, and say what you want about it, but that thing was so meticulously planned. It was planned like NASA planned its trips to the moon. It made me feel like some sort of horrible dilettante.
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If I want to keep making films for a few more years, I probably should be willing to adapt. I've sort of evolved into the filmmaker that I am because of natural selection anyway.
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Making the ballet really taught me how to get things moving. Ballet dancers don't stand still.
Guy Maddin