American - Director | February 6, 1963 -
All filmmakers want the option to make another film, to have it not always be such an uphill battle - for it to be our life, our working life.
Debra Granik
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When I read Daniel Woodrell's novel 'Winter's Bone,' I was drawn to the characters, the setting, and the sound of the dialog.
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My first narrative films developed out of a documentary process - finding someone who was willing to be filmed, watching, listening, taking copious notes and many hours of video footage.
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My first camera job was filming workplace safety videos, which involved months of watching and videotaping people doing their jobs. I was hooked - from there, I wanted to know where they lived and the rest of their habits and desires.
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I'd love to do a comedy - something where a character has to use humor to navigate the absurdities of life.
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You have so much more time to observe and learn with a documentary because of the time between the shoots. You get a much deeper understanding of day-to-day life and its themes. It's also much more of a mess after three years; you have to comb it out carefully and see what fits together and makes sense.
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There is a porous membrane between a documentary that doesn't use interviews and what you would call a neorealist hybrid film.
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The immigration process is so unbelievably complicated and expensive and endless!
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When men's lives become extremely hard, women learn how to deal with them and assist them but also develop quiet systems of coping and managing.
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Humour is the be-all and end-all medicine of human existence.
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Humour is used in struggle and solving difficult things, and I relish that tradition.
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In the U.K., working-class lives are depicted with the characters' humour, but in the U.S., people with difficulties are often depicted with pious or simply dreary lives.
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