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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
Right
Refusal
Oscars
Model
Models
Tradition
Goes
Nature
Wilde
Back
Oscar

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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 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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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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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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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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When Cate Blanchett starts directing, it's over for all of us.
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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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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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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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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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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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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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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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