American - Director | January 2, 1961 -
When you think of the later '50s and 'Far From Heaven' and Eisenhower and Sirk, you think of that Hollywood panache and gloss to American middle-class life.
Todd Haynes
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'Carol' is so distorted by point-of-view.
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There were interesting ways that queerness could hide out and get played out pre-Stonewall. It is part of a vast history that is getting forgotten quickly as we trumpet forward into gay marriage and gays in the military and a much different cultural attitude toward gay lives.
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Cannes is a lot of work, since it's a market festival and a serious festival, and they really work you, understandably.
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I'm used to always having struggles getting finances together and keeping precarious budgets alive in the independent film world.
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There's no better place to do a longform project than HBO. I loved the creative teams I got a chance to work with.
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At HBO, you've just basically got a studio full of artistically driven smart guys and women who really care about the quality first and foremost.
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I have always had an interest in performers who play against the most obvious of expectations and are able to find something secret, something withheld, and some level of restraint.
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I do think that, yes, one should always be receptive to the fact that there are many different types of audiences, and they are not necessarily in a clean, reductive demographic like they once were.
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I do know my own films don't necessarily work within that high-pressure reductive moment of the opening weekend - or all the ways that many people assess the value of movies.
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I started 'Carol' as I almost always do, by looking at films from the time, and they were less - they actually felt less relevant to me in terms of their bigness, although we do have some big '50s-type moments in 'Carol.'
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I've always been interested in visual art and used to be much more into theater when I was younger, or more knowledgeable about what's going on. And literature has played a big part in my life.
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