A play, after all, is a mystery. There's no narration. And as soon as there's no narration, it's open to interpretation. It must be interpreted. You don't have a choice... Each play can become many things.
Mike NicholsRead
The thing is, as a film director, you're essentially alone: You have to tell a story primarily through pictures, and only you know the film you see in your head.
Interpretation
As a film director, one carries the burden of translating their unique vision into a visual narrative, often in solitude.
Mike Nichols emphasizes the solitary nature of directing films, where the director must rely on their own interpretation and vision to convey a story visually. This process can be isolating, as the director is the only one fully aware of the film as it exists in their mind, and they must find a way to communicate that vision through the medium of cinema.
In practice
During a film workshop, you might say, 'As Mike Nichols said, a director is essentially alone in their vision.'
A play, after all, is a mystery. There's no narration. And as soon as there's no narration, it's open to interpretation. It must be interpreted. You don't have a choice... Each play can become many things.
There’s nothing better than discovering, to your own astonishment, what you’re meant to do. It’s like falling in love.
You could say that it's in talking movies that inner life begins to appear. You can see things happen to the faces of people that were neither planned nor rehearsed.
The thing about being an outsider... is that it teaches you to hear what people are thinking because you're constantly looking for the people who just don't give a damn.
I've learned that many of the worst things lead to the best things, that no great thing is achieved without a couple of bad, bad things on the way to them, and that the bad things that happen to you bring, in some cases, the good things.
Plays, especially great plays, yield their secrets over a long period of time. You can't read it three times and say, 'OK, I got it. I know what's happening.'
I've always tried to make movies that pull the audience out of their seats... I want audiences to be transported.
Films are neither true nor false. That includes my films, as well as others. They may make claims that are true or false, but films are too complex. They have too many ingredients.
People ask me: ‘What is punk? How do you define punk?' Here's how I define punk: It's a free space. It could be called jazz. It could be called hip-hop. It could be called blues, or rock, or beat. It could be called techno. It's just a new idea. For me, it was punk rock. That was my entrance to this idea of the new ideas being able to be presented in an environment that wasn't being dictated by a profit motive.
I say, 'If I had a serious brain injury I might well write a children's book', but otherwise the idea of being conscious of who you're directing the story to is anathema to me, because, in my view, fiction is freedom and any restraints on that are intolerable.
My father was a painter and he taught art. He once said to me, 'I never knew an Indian child who could not draw.'
Popularity is the crown of laurel which the world puts on bad art. Whatever is popular is wrong.
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