American - Director | January 2, 1961 -
My very first movie, 'Mary Poppins,' which I talk about, it just turned me into an obsessive, creative creature who had to sort of reply to the experience by drawing things, making things. It was like it forced - it made me into this obsessive, creative creature... I don't know any other way of putting it.
Todd Haynes
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I noticed that there were all these kinds of practices in a working set that had to be un-practiced on 'Far from Heaven,' which was so interesting.
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With 'Carol,' I was just really looking at and thinking about the love story as a genre, not the domestic melodrama.
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It's funny: I don't feel like I have any particular privileged feeling for the Fifties.
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By the time I finished 'Poison,' the New Queer Cinema was branded, and I was associated with this. In many ways, it formed me as a filmmaker, like as a feature filmmaker I never set out to be.
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I figured I would be teaching my whole life and making experimental films on the side.
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I think I'm drawn to female characters partly because they don't have as easy or as obvious a relationship to power in society, and so they suffer under social constraints or have to maneuver within them in ways men sometimes don't or are unconscious about, or have certain liberties that are invisible to them.
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I made little Super 8 extravaganzas when I was a kid, the first being my own version of 'Romeo and Juliet,' and where I played all the parts except for Juliet.
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My films have often looked at the whole dilemma of identity as a straitjacket for people, for societies, for cultures, for historical moments.
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The first time I saw Douglas Sirk was in college. I didn't encounter him on the late, late, late show like a lot of people; people a little older than me, maybe. But I saw him already as someone to take special note of in an academic context in college. I was immediately in a state of visual splendor.
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It took an entire generation of critical thinking for Douglas Sirk's films to be really appreciated.
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Films like 'The Godfather,' 'Chinatown' and 'The Exorcist' brought a realism and currency and understatement to their genres that we wanted for 'Mildred Pierce.'
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