American - Director | January 2, 1961 -
The bond company comes in if you exceed your costs; they're the insurers of the film. In the worst-case scenario, they take over the production.
Todd Haynes
BondYouCompanyOverProduction
Looking at photographs of New York in 1952, you find a powerfully pre-Eisenhower era - sagging, tired, distressed - and the palette is slightly dissonant.
New YorkTiredLookingYouFindNew
The best love stories on film are rooted in the point of view of the more woundable, vulnerable party, the more amorous party.
LoveBestViewPoint Of ViewParty
I don't know if I ever entertained an academic career, nor did I ever think I'd become a feature film-maker in the market.
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I saw experimental film-makers teaching in college. They did what they wanted and didn't worry about the market, but the circumstances ended up offering me other possibilities.
CollegeMeWorryPossibilitiesUp
When you premiere somewhere like Cannes, it's huge. It's nerve-wracking.
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I think it remains a film-by-film process, and since I am relatively selective and slow, it can take a while.
I AmThinkProcessSlowTakeSince
Melodrama is sometimes broadly applied and sometimes derogatorily applied.
SometimesAppliedMelodrama
There's this homogenization, this big sucking motion in dominant society, to absorb all the disparate elements that define the margin or define the culture or define those who are thrust outside the status quo.
CultureSocietyStatus QuoOutside
I have a hard time making movies that affirm life and say life is a good and happy place. That's not true about the world.
LifeGoodTimeHappyWorldPlace
I don't want to make people feel better.
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I had really loving parents and a happy childhood.
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