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.
The trap into which all writers have, will, or should fall into, of writing The Great American Watchamacallit, is such an uncluttered and inviting one that from time to time I'm sure even the greatest have to pull themselves up short by the Shift key to remind themselves that it is story first that they should write.
Surrealism is not a poetry but a poetics, and even more, and more decisively, a world vision.
Favorite poems are like favorite children. We definitely have them but we never tell as the others would have their feelings hurt.
A woman drew her long black hair out tight, And fiddled whisper music on those strings, And bats with baby faces in the violet light Whistled, and beat their wings, And crawled head downward down a blackened wall.
If one hears bad music, it is one's duty to drown it by one's conversation.
I'm not a classical player. I don't want to be a classical player. I love to improvise, because things happen that never happen anywhere else.
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