The World Motivation
I always think of my films within the context of where aesthetics meet economics. That's the nature of making art - not being naive about what is possible and getting what you need to tell the story you want to tell.
“I always think of my films within the context of where aesthetics meet economics. That's the nature of making art - not being naive about what is possible and getting what you need to tell the story you want to tell.”
I always think of my films within the context of where aesthetics meet economics. That's the nature of making art - not being naive about what is possible and getting what you need to tell the story you want to tell.
I've always been interested in how the individual comes to know and accept him or herself, which I think has been hard for me.
Every time you make a film, you create a world. You make decisions about sets and costumes, and you create a universe connected to reality, but not reality itself.
For me, every film is actually a form of documentary.
I always hope that people feel less alone when they see a movie that I make. That some part of the story played out on the big screen will resonate for individuals in the audience in a way that gives them comfort.
I suspect that many of the great cultural shifts that prepare the way for political change are largely aesthetic. A Buick radiator grille is as much a political statement as a Rolls Royce radiator grille, one enshrining a machine aesthetic driven by a populist optimism, the other enshrining a hierarchical and exclusive social order.
We Americans have always considered Hollywood, at best, a sinkhole of depraved venality. And, of course, it is. It is not a protective monastery of aesthetic truth. It is a place where everything is incredibly expensive.
I hope to be remembered for writing books about social justice that also have enough aesthetic value to endure as works of literature.
Even before I had ever seen 'Beach Blanket Babylon,' I had a similar aesthetic: colorful and sparkly.