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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
Feelings
Way
Shredded
Good
Melodrama
People
Interact
Machinery
Feed
Fuel
Honest

More quotes by Guy Maddin

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The bone-breaking thing is something that I put in many narratives.
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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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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 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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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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In many relationships that I've had people just try to own the other person.
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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 like going out to popcorn-munchers.
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Those are my goals, you know. To be smart, tasteless, and feeling. Something to shoot for.
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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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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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Making the ballet really taught me how to get things moving. Ballet dancers don't stand still.
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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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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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You also convert real memories, whatever that means, into film versions of those memories. Because by the time you've finished the project you can't remember the real memories anymore, you just remember the film versions of them. And then if the film failed you have distaste for them. So I don't think about that stuff anymore.
Guy Maddin
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Hollywood isn't exactly dragging me, or even aware of me.
Guy Maddin
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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.
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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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