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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.

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
Remember
False
Back
Models
Everything
Childhood
Long
Poet
Kind
Anybody
Remembering
Thinking
Times
Irrational
Universe
Poetic
Making
Believed

More quotes by Guy Maddin

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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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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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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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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 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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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 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 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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The bone-breaking thing is something that I put in many narratives.
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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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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'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 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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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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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 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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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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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