Movies, they take years of my life, so I'm fortunate that I get to work in a lot of different mediums.
Spike JonzeRead
I feel like you only have so much time to make stuff. I'm definitely aware of that. I'm also excited about it.
Interpretation
This quote emphasizes the importance of time in the creative process and the excitement that comes with making art.
Spike Jonze reflects on the finite nature of time available for creativity, suggesting that this awareness not only instills a sense of urgency but also fuels enthusiasm for creation. The balance of recognizing time's limitations while embracing the joy of making underscores the duality of the artist's experience.
In practice
During a workshop on art, this quote can inspire participants to value their time spent on creativity.
Movies, they take years of my life, so I'm fortunate that I get to work in a lot of different mediums.
If you compromise what you're trying to do just a little bit, you'll end up compromising a little more the next day or the next week, and when you lift your head you're suddenly really far away from where you're trying to go.
Whenever I start writing, I try to put together songs that feed the feeling of the movie.
I want to make films without a single clear message, and films that are as close as possible to what it feels like to be alive. At least to me.
I think if something's emotionally real - and I'm not even talking about in movies or in art, but in life - you can't really argue with that, even if your intellectual mind might know differently.
When I'm making stuff, the thing that excites me most is not the result, but the process and trying to do something I've never done before.
I can write with authority only about what I know well, which means that I end up using surface details of my own life in my fiction.
I have a feeling, one of those gut feelings, that I'll make pretty good movies the rest of my life.
When you're a writer and something difficult happens to you, one of the things involved in that is this emergence of narrative potential. And there's then a kind of self-consciousness about telling a story in which you suffered.
If you ask me, I alternate between truly bizarre, what you would call 'Hollywood' movies and truly bizarre, what you would call 'arthouse' movies.
How do you explain what it feels like to get on the stage and make poetry that you know sinks into the hearts and souls of people who are unable to express it
There is no such thing as realistic dialogue. If you [simply recorded] the real conversation of any people and played it back from the stage, it would be impossible to listen to. It would be redundant . . . . The good dialogue writer is the one who can give you the impression of real speech.
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