All worthy work is open to interpretations the author did not intend. Art isn't your pet -- it's your kid. It grows up and talks back to you.
Joss WhedonRead
I think everyone who makes movies should be forced to do television. Because you have to finish. You have to get it done, and there are a lot of decisions made just for the sake of making decisions. You do something because it's efficient and because it gets the story told and it connects to the audience.
Interpretation
Making movies can be a long process, but television requires completing stories efficiently to connect with audiences.
Joss Whedon emphasizes the importance of the efficiency and decisiveness that comes with working in television compared to film. He suggests that filmmakers would benefit from the constraints and immediacy of television, as it forces them to make practical decisions that prioritize storytelling and audience connection, thus enhancing their ability to create compelling narratives.
In practice
In a discussion about the differences between film and television at a film festival.
All worthy work is open to interpretations the author did not intend. Art isn't your pet -- it's your kid. It grows up and talks back to you.
Because it’s no longer enough to be a decent person. It’s no longer enough to shake our heads and make concerned grimaces at the news. True enlightened activism is the only thing that can save humanity from itself.
I designed 'Buffy' to be an icon, to be an emotional experience, to be loved in a way that other shows can't be loved. Because it's about adolescence, which is the most important thing people go through in their development, becoming an adult.
My dad would go to work every day and write in a room full of funny people. He enjoyed it. I know great writers who find the process agonising but to me, writing has always been sheer joy.
I loved the idea of a girl going into a dark alley, and a monster comes, and then she just aces him. It’s like, you want to see the tiny person suddenly take control. God, my whole career is basically about that!
Limitations are something that I latch onto - like working in genre, or if you're writing TV, there are act breaks, there's a length of time it's supposed to be. The restrictions of budget and sets can be really useful. When you can have everything, it's very hard to make things feel real and lived in.
A method of painting is a natural growth out of a need. I want to express my feelings rather than illustrate them. Technique is just a means of arriving at a statement.
A woman artist could be one of those intuitive geniuses [who] have kept their childlike spirit and have added to it breadth of vision and experience.
As nearly as possible in the spirit of Matthew Salinger, age one, urging a luncheon companion to accept a cool lima bean, I urge my editor, mentor and (heaven help him) closest friend, William Shawn, genius domus of The New Yorker, lover of the long shot, protector of the unprolific, defender of the hopelessly flamboyant, most unreasonably modest of born great artist-editors to accept this pretty skimpy-looking book.
Dancing is bigger than the physical body. Think bigger than that. When you extend your arm, it doesn't stop at the end of your fingers, because you're dancing bigger than that. You're dancing spirit.
Howard Hughes was this visionary who was obsessed with speed and flying like a god... I loved his idea of what filmmaking was.
Architecture is always the will of the age conceived as space - nothing else. Until this simple truth is clearly recognized, the struggle over the foundation of a new architecture confident in its aims and powerful in its impact cannot be realized; until then, it is destined to remain a chaos of uncoordinated forces.
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