Whit Stillman Quotes
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I originally wanted to be F. Scott Fitzgerald, but failed.
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One of the problems of a director on the set is that we become overwhelmed by all the factors and threads of production, that sometimes we can't focus on our main job, which is steering the performances to create the whole film.
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I'm for people clinging. I'm pro-clinging.
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For me, there's a bad year of getting started on something. You write bad stuff and it's awkward to throw it out, and you wait around to get some good ideas that maybe do come or don't come. Until eventually you get the voice and autonomy of the characters, the characters have personality, and they sort of pick up the weight and put it on their shoulders. That's when it becomes a little more fun.
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I love watching the romantic comedies of the late '50s and early '60s. I used to have a rule that if Tony Randall's in it, it can't be bad.
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There's some people who are just very dynamic about social life, and it can be some pretty crazy stuff, but you end up meeting people you like.
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So something I've felt I've learned with The Cosmopolitans shoot is using some agility and changing things quickly. That's something I found really useful on this shoot too. The gestation of The Cosmopolitans and this are slightly different from my other films. The script would be done and I'd be cutting it, but I wasn't always writing new material.
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The creation of a film starts with an idea, a notion of a time period or characters, and you get really excited about the idea, and sell it to others if you need their support to write the script. You can't wait to get started, and then you try to start, and you struggle with the blank page, and you get some ideas, and they're bad ideas, and you write bad stuff. It's really bad.
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That's one of the things I find really bad, is when people not only do injuries to others, but then lie about the others to justify it. It's not bad enough just being bad to someone, but then lying about it.
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In my father's time - he was in college during many transitions in the late 1930s - they had great institutional loyalties... to his college, eventually the navy, the Democratic Party and certain ideals of our country. Those are the things that became broken with my generation.
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I think a lot of ["Cosmopolitans"] is marked by [Jerome David] Salinger. Salinger wouldn't allow his works to be adapted for film after his experience with "Uncle Wiggly in Connecticut," and I think that's great for us because then we have to do our own Salinger stories.
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I explained to Amazon that I don't like outlining or projecting what something's going to be. I like to allow a story to arise as I'm writing scripts. I find it horrible when I try to think of something for the plot without really being on the ground and seeing where it goes. I was really resistant to do the mini-bible. So I gave them something, but I really didn't want to do it that way.
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I find it really disturbing to be watching a lot of the medium that I'm trying to work in. I prefer to be doing things that are farther away.
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I call the '70s the "golden age of television"; in the early '70s there were sensationally good shows.
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I think Austin is read more now than Charles Dickens, and Dickens was much more popular in his day. She endures because of her classicism.
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We learned some bad things, and the Vietnam War led to some bad conclusions. We're not the greatest generation, that's for sure.
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I can talk about Jane Austen until the cows come home.
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The Cha-Cha is no more ridiculous than life itself.
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I think crazy people are helpful, crazy people who are the catalysts who make other things happen for everyone else. It's almost as if they're not really making things happen in their own life, but their hyperactivity is triggered for everyone else.
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Decline and Fall was a very depressing Evelyn Waugh novel, I think it was his first. I didn't get it at all, and then I got to love Waugh. And I think that maybe "Cosmopolitans" has a bit of an Evelyn Waugh vibe to it at some point.
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Our roots are clinging, we shouldn't knock down so many old 'buildings.'
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I decided the moment I graduated from college that I would never wear blue jeans again. And I have never worn blue jeans again.
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I think it's helpful to aspire to make films if you feel that other people are not doing what you want to do.
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I think it's really good and helpful to have the people you most admire in some other discipline than what you work in. It's too intimidating and derivative to be just totally gobsmacked by someone doing exactly the same thing as you are.
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[ Lady Susan novel by Jane Austen is] extremely difficult to adapt. I worked on it for years, for, like, ten years, before I started showing it to people. This was my back-burner project.
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[Jerome David] Salinger was really taken to the cleaners by nasty critics in his day. I think Joan Didion was one of the people who attacked him in a very unfair way.
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For me, the present is a golden era. That's the greatest golden era. Right now. I just like pining for lost times.
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Mary McCarthy and that Mr. Intellectual kind of guy ... Dwight McDonald? And they were really mean about [Jerome David] Salinger, and oh they were going to destroy him, and just look how thoroughly they destroyed him! No one reads Salinger anymore!
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It becomes a lot better for the actors when we're 'shooting, shooting, shooting,' instead of waiting around in a trailer for something to happen.
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I would say on the other side of the equation that there were really some massive sales and massive enthusiasm for some films that were given big releases. And I'm not really sure that happens in quite the same way, small films getting big releases. Maybe it still does, I don't know.
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