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In the end, whether I write the script or, in this case, somebody else did, there's a point where you let it go when you're making a movie. You just have to. The thing that you shoot is not what you imagined in your head - it never is exactly that. And it shouldn't be.

Todd Haynes

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Todd Haynes
Age: 63
Born: 1961
Born: January 2
Actor
Film Director
Film Producer
Screenwriter
Television Director
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Script
Thing
Movie
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More quotes by Todd Haynes

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A refusal of nature as a model is a tradition that goes right back to Oscar Wilde.
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When Cate Blanchett starts directing, it's over for all of us.
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In my research, all roads led back to Oscar. It's definitely in a way trying to understand the truly English element to glam-rock. It really does not come from American culture.
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What was so interesting about the glam era was that it was about bisexuality and breaking down the boundaries between gays and straights, breaking down the boundaries between masculinity and femininity with this androgyny thing.
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It's hard to transport myself forward in time, and the scarcity of opportunity back then kind of fueled my ambition. But back in my day, every family I knew had a Super 8 camera, and that's what I first picked up. We adapt to the technology we have available. But for the kids of today, they can really make something great with what is available.
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Music and film are parallel experiences: they are linear, they are narrative.
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I hope it's water under the bridge, but Richard Carpenter is a complicated individual, and he's also entitled to his own opinion on how his sister is depicted. The film has lived on and survived, and to me is ultimately is an affectionate celebration of Karen Carpenter. I hope that wins out in the end.
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I always loved theater and acting in plays and directing, writing little plays and directing friends in plays.
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Doing a love story as a genre, and looking at love stories in movies, and feeling like I learned stuff about that, and that it broadened my view and my idea of what I can do, and how I can work with the people around me, that was such a great, really satisfying experience.
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In male-driven [films], the protagonist is not the person who's necessarily in harms way. There's a sense that they're going to figure out how to persevere and take on the obstacles and foes and you don't necessarily know if that's going to happen with the subjects of love stories.
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I would just say there are no two roles that are more demanding than Bob Dylan of 1966 [Blanchett's role in 'I'm Not There'] and Carol Aird of 1952. I challenge any director out there to come up with a wider divide. I had to convince her to take the Dylan role, and that took effort. But with 'Carol,' she was already attached.
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There is no single approach that actors take to their craft. And the best thing you learn is that you have to really listen and respect each actor's own process and own method, and that takes a kind of delicate, non-imposing patience and openness, I think, to get the very best out of the people you work with.
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In a way, I think Roxy Music is high camp, in a brilliant way.
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I think by around the time I was about 8 or 9, the idea of filmmaking probably took hold. I made little Super 8 extravaganzas when I was a kid, the first being my own version of Romeo and Juliet, and where I played all the parts except for Juliet.
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I envy musicians their ability to live their art and share it with an audience, in the moment. From a filmmaker's standpoint, that's so rare and pure in a way that I'm sure is way more complicated than it appears.
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I figured I would be teaching my whole life and making experimental films on the side.
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I was about 6 or 7, I would have said I wanted to be an actor and an artist. And that just kind of kept honing itself around film and getting closer to film.
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When you really do feel like an alien, and you really do feel like a space creature, and you really do feel you want to experiment and dress up and be different every day, to find what looks best but never stick to one thing... Just the fact that that was offered to those kids during that time is pretty remarkable.
Todd Haynes
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I have always had an interest in performers who play against the most obvious of expectations and are able to find something secret, something withheld, and some level of restraint.
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I think that's what I love about glam-rock. It invited you to participate. It asked you to change yourself in all these different ways, or offered up all these options.
Todd Haynes