Quote

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.

Guy Maddin

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TAGS & TOPICS

Guy Maddin
Age: 68
Born: 1956
Born: February 28
Actor
Camera Operator
Cinematographer
Film Director
Film Producer
Screenwriter
Winnipeg
Manitoba
Goal
Imitate
Whether
Attempting
Voice
Pleased
Found
Closest
Another
Discovered
Best
Goals
Matter
Liked
Tapped
Something
Came
Autobiographical

More quotes by Guy Maddin

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Making the ballet really taught me how to get things moving. Ballet dancers don't stand still.
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I've never made movies to reach millions of people.
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In many relationships that I've had people just try to own the other person.
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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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The bone-breaking thing is something that I put in many narratives.
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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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Hollywood isn't exactly dragging me, or even aware of me.
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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 was too lazy to read, and I was even too lazy to imagine scenarios drawn up by the pictures. They just suggested a flavor to me. I swallowed them whole, like hosts. It was a form of worship.
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Some Jungian or Freudian would tell me I'm just trying to go back to the womb... at gunpoint, if necessary.
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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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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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I'm starting to frighten myself, because I'm backsliding into my devil-may-care attitude. I'm sure it's going to catch up with me.
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I like going out to popcorn-munchers.
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I'm a nervous wreck. If it's a 20-day shoot, at lunchtime on the first day, I'm thinking Only 19 and a half days to go... I can make it!
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Older recordings just seemed to take me somewhere into my own pre-history. That's always been an interesting, sort of sphinx-like territory for me to wander around in.
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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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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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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 feel the need to chastise myself. A movie that's a partial musical, full-on melodrama, should require a tremendous amount of planning.
Guy Maddin