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A refusal of nature as a model is a tradition that goes right back to Oscar Wilde.

Todd Haynes

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Todd Haynes
Age: 63
Born: 1961
Born: January 2
Actor
Film Director
Film Producer
Screenwriter
Television Director
Model
Models
Tradition
Goes
Nature
Wilde
Back
Oscar
Right
Refusal
Oscars

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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 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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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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In a way, I think Roxy Music is high camp, in a brilliant way.
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I figured I would be teaching my whole life and making experimental films on the side.
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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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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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The ways in which Oscar Wilde was attacking the Romantics that preceded him, and the Romantic ideas that preceded him, were very similar to what the glam-rockers, particularly Bowie and Bryan Ferry, were attacking in the earnestness of '60s culture. Trying to shock, but with wit, cleverness, and homosexuality.
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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.
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I don't pay attention to the 'marginalizers.' They simply don't have any impact anymore, on where we're headed or what the law is. I'm not worried about gay people in America right now, as opposed to their status in other countries. The change here was remarkable and swift, which was awesome, and we've witnessed that change right before our eyes.
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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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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.
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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.
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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'm a great admirer, fan and consumer of television. I love serial drama. I have been a major fan of HBO's series for many years.
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Music and film are parallel experiences: they are linear, they are narrative.
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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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As an independent filmmaker, to develop the money and the financing and the structure and the whole process, and then promoting them and traveling with them, which is a part of the process that I've always enjoyed and I've learned a great deal from.
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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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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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