My strength is with actors. I think I'm good at working with them to get the best performances, at seeing what it is that they have and that the story needs.
Sydney PollackRead
I think a lot of creative people are uncomfortable with therapy. Because you're basically trying to 'solve' the unconscious. And the unconscious is where it all comes from.
Interpretation
Creative individuals may feel uneasy about therapy as it delves into the unconscious mind, which is the source of their creativity.
This quote highlights the tension many creative people face with therapy. While they often draw inspiration from their unconscious thoughts and feelings, the idea of analyzing and potentially 'solving' these depths can be intimidating. The unconscious mind serves as a wellspring for creativity, but confronting it through therapy may seem like a threat to their artistic expression.
In practice
In a discussion about the challenges faced by artists, one might use this quote to emphasize the conflict between creativity and self-exploration.
My strength is with actors. I think I'm good at working with them to get the best performances, at seeing what it is that they have and that the story needs.
And I taught acting for years, and without knowing it that was the real thing that started bending me toward directing.
If you have a career like mine, which is so identified with Hollywood, with big studios and stars, you wonder if maybe you shouldn't go off and do what the world thinks of as more personal films with lesser-known people. But I think I've fooled everybody. I've made personal films all along. I just made them in another form.
It's my job to motivate the audience to believe. I have to get them to suspend their judgment in favor of involvement.
You hope that the responsibility of making movies will fall into the hands of essentially moral people.
Making a movie is a network of decisions that keep multiplying as you go. You leave a trail of decisions behind you, and that's how you start to see the shape of what you've done. When you get far enough, you turn around and say, 'Ha, that's the movie.' It's only then that you find out if it's going to work or not.
The ego refuses to be distressed by the provocations of reality, to let itself be compelled to suffer. It insists that it cannot be affected by the traumas of the external world; it shows, in fact, that such traumas are no more than occasions for it to gain pleasure.
Fortunately I experienced Max Wertheimer's teaching in Berlin and collaborated for over a decade with Wolfgang Köhler. I need not emphasize my debts to these outstanding personalities. The fundamental ideas of Gestalt theory are the foundation of all our investigations in the field of the will, of affection, and of the personality.
Many psychopaths describe the traditional treatment programmes as finishing schools where they hone their skills. Where they find out that there are lots of techniques they had not thought about before.
In the investigation of a neurotic style of life, we must always suspect an opponent, and note who suffers most because of the patient's condition. Usually this is a member of the family.
If we think about emotion this way - as outside-in, not inside out - it is possible to understand how some people can have an enormous amount of influence over others. Some of us, after all, are very good at expressiing emotions and feelings, which means that we are far more emotionally contagious than the rest of us.
Few of us can accurately gauge how we will feel tomorrow or next week. That's why when you go to the supermarket on an empty stomach, you'll buy too much, and if you shop after a big meal, you'll buy too little.
Subscribe for the occasional hand-picked quote. No noise.