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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.

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
Feed
Fuel
Honest
Feelings
Way
Shredded
Good
Melodrama
People
Interact
Machinery

More quotes by Guy Maddin

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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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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'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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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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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.
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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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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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I like going out to popcorn-munchers.
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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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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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The bone-breaking thing is something that I put in many narratives.
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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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Those are my goals, you know. To be smart, tasteless, and feeling. Something to shoot for.
Guy Maddin
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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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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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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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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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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 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.
Guy Maddin