All worthy work is open to interpretations the author did not intend. Art isn't your pet -- it's your kid. It grows up and talks back to you.
Joss WhedonRead
I think everyone who makes movies should be forced to do television. Because you have to finish. You have to get it done, and there are a lot of decisions made just for the sake of making decisions. You do something because it's efficient and because it gets the story told and it connects to the audience.
Interpretation
Making movies can be a long process, but television requires completing stories efficiently to connect with audiences.
Joss Whedon emphasizes the importance of the efficiency and decisiveness that comes with working in television compared to film. He suggests that filmmakers would benefit from the constraints and immediacy of television, as it forces them to make practical decisions that prioritize storytelling and audience connection, thus enhancing their ability to create compelling narratives.
In practice
In a discussion about the differences between film and television at a film festival.
All worthy work is open to interpretations the author did not intend. Art isn't your pet -- it's your kid. It grows up and talks back to you.
Because it’s no longer enough to be a decent person. It’s no longer enough to shake our heads and make concerned grimaces at the news. True enlightened activism is the only thing that can save humanity from itself.
I designed 'Buffy' to be an icon, to be an emotional experience, to be loved in a way that other shows can't be loved. Because it's about adolescence, which is the most important thing people go through in their development, becoming an adult.
My dad would go to work every day and write in a room full of funny people. He enjoyed it. I know great writers who find the process agonising but to me, writing has always been sheer joy.
I loved the idea of a girl going into a dark alley, and a monster comes, and then she just aces him. It’s like, you want to see the tiny person suddenly take control. God, my whole career is basically about that!
Limitations are something that I latch onto - like working in genre, or if you're writing TV, there are act breaks, there's a length of time it's supposed to be. The restrictions of budget and sets can be really useful. When you can have everything, it's very hard to make things feel real and lived in.
Anything can become a musical sound. The wind on telegraph wires is a great sound; get it into your machine and play it and it becomes interesting.
My fiction may, now and again, illuminate aspects of the human condition, but I do not consciously set out to do so: I am a storyteller.
So when I realised I could sing for a living - do what I loved and be paid for it - I thought, 'This is unbelievable. Unbelievable!' And that feeling has never left me.
Lie to me by the moonlight. Do a fabulous story.
Artists like Bach and Beethoven erected churches and temples on the heights. I only wantedto build dwellings for men in which they might feel happy and at home
I have a very healthy relationship to my work, and I find that if a scene is working, no matter how intense it is, you have the catharsis on screen, and you can let it go. I think it's, if at the end of the day you feel like you haven't cracked it, that's when you go home and it's more difficult to switch off.
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