I have a one-track mind. That's all that I'm interested in - love. And the lack of it. When it stops.
John CassavetesRead
There's a difference between ad-libbing and improvising. And there's a difference between not knowing what to do and just saying something. Or making choices as an actor. As a writer also, as a person who's making a film, as a cameraman, everything is a choice. And it seems to me I don't really have to direct anyone or write down that somebody's getting drunk; all I have to do is say that there's a bottle there and put a bottle there and then they're going to get drunk.
Interpretation
The quote emphasizes the importance of choices in creativity and storytelling.
John Cassavetes highlights the subtle yet significant distinctions between ad-libbing and improvisation, suggesting that true creativity involves making intentional choices rather than simply filling in gaps with random ideas. He illustrates that in filmmaking, the mere presence of a prop, like a bottle, can convey a narrative without explicit direction, thereby empowering the actors and the story itself through thoughtful design and intention.
In practice
During a film workshop, to emphasize creativity, I shared this quote to highlight the importance of intentional choices in storytelling.
I have a one-track mind. That's all that I'm interested in - love. And the lack of it. When it stops.
I like to act in films, I like to shoot 'em, I like to direct 'em, I like to be around 'em. I like the feel of it and it's something I respect. It doesn't make any difference whether it's a crappy film or a good film. Anyone who can make a film, I already love. But I feel sorry if they don't put any thought in it because then they missed the boat.
There is no reason why a serious film, one about life, can't be enjoyable, maybe even fun. Emotions can be very entertaining, you know. I try to use them generously in my films.
My parents allowed their two sons to be individuals. My family was a wild and wonderful place, with lots of friends and neighbors visiting and talking loud and eating loud and nobody telling the children to be quiet or putting them down.
As an artist, I feel that we must try many things - but above all we must dare to fail.
Filmmaking is exploring. Why would I want to make a film about something I already understand?
Grant that the true organ with which the beautiful is apprehended is the imagination, and it follows that all arts are likely to affect the feelings indirectly.
The artist's job is to be a witness to his time in history.
When I sang my American folk melodies in Budapest, Prague, Tiflis, Moscow, Oslo, or the Hebrides or on the Spanish front, the people understood and wept or rejoiced with the spirit of the songs. I found that where forces have been the same, whether people weave, build, pick cotton, or dig in the mine, they understand each other in the common language of work, suffering, and protest.
Without foundations, there can be no fashion.
The obsession with performance left no room for the development of the intuitive or spiritual impact of space and form other than the aesthetic of the machine itself.
A poem begins as a lump in the throat, a sense of wrong, a homesickness, a lovesickness.
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