I can't honestly account for the very personal response that I have to one story and not another, a sense of an orbit, the orbit of a world that draws me as my own life recedes.
Daniel Day-LewisRead
You don't merely give over your creativity to making a film - you give over your life! In theatre, by contrast, you live these two rather strange lives simultaneously; you have no option but to confront the mould on last night's washing-up.
Interpretation
Creating a film requires total dedication and personal investment, unlike theatre where you balance real life and performance.
In this quote, Daniel Day-Lewis emphasizes the deep commitment and personal sacrifice involved in filmmaking. He contrasts this with theatre, where actors must navigate between their performance and the realities of everyday life, highlighting the intense emotional and creative demands of bringing a film to life.
In practice
This quote can be used in a film studies class to discuss the emotional investment required in filmmaking.
I can't honestly account for the very personal response that I have to one story and not another, a sense of an orbit, the orbit of a world that draws me as my own life recedes.
One of the great privileges of having grown up in a middle-class literary English household, but having gone to school in the front lines in Southeast London, was that I became half-street-urchin and half-good-boy at home. I knew that dichotomy was possible.
When I've gone back to work, it's always with that sense of inevitability. That may be a complete delusion, but it's the one that I need to get out of bed and go about my business. That sense that I can't avoid this thing. I better just get on with it.
I suppose it's a very highly developed form of denial, but some part of me completely denies that I'm a performer.
I don't torture myself. And I do the work because of the pleasure involved. I'm satisfying a compulsion I find nigh-on irresistible. It's not necessarily because of the work itself. I just feel the need for a period of regeneration afterwards. Like leaving a field fallow when you've grazed too much on it. I feel depleted.
England is obsessed with where you came from, and they are determined to keep you in that place, be it in a drawing room or in the gutter.
Pixar films are not realistic. They are believable for the worlds we are creating.
A chair is to have no backside. It should be beautiful from all sides and angles.
All art should have a certain mystery and should make demands on the spectator. Giving a sculpture or a drawing too explicit a title takes away part of that mystery so that the spectator moves on to the next object, making no effort to ponder the meaning of what he has just seen. Everyone thinks that he or she looks but they don't really, you know.
Like most novelists, I like to do exactly the opposite of what I'm told. It's in my nature as a novelist. Novelists can't trust anything they haven't seen with their own eyes or touched with their own hands.
Everything on this record is what I really wanted to say, and I'm back to being the poet I always thought I was.
I enjoy making solo albums because over the years it's evolved into more of a genuine personal expression of story-telling and day dreams, and I work in a way that has more control.
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