I love movies, but sometimes I think it's better for actresses not to be total cinephiles. You have to be able to do the work at some point; you can't be totally starstruck. 'I can't believe it's Woody Allen!' You have to get past that.
Interpretation
Balancing admiration for the film industry with professional commitment is essential for actresses.
Greta Gerwig's quote reflects the tension between the love for cinema and the necessity of professionalism for actresses. While being a cinephile can fuel passion and creativity, it is crucial that actresses maintain focus on their work and not get overwhelmed by their reverence for filmmakers or the cinematic world. This balance allows them to contribute authentically to their craft without being sidelined by starstruck awe.
In practice
In a discussion about the pressures actors face, this quote can highlight the importance of staying grounded.
I'd applied to graduate school for playwriting, and I got rejected by every school. I felt that theatre was closed but that, when it came to film, the door was very slightly ajar. If I have any virtues, it's that I'm good at walking through doors that are slightly ajar.
Acting was always the first love, but a lot of people want to be actors, and my goal was, 'Come hell or high water, I will be a part of this world, however I can.' So that just led me to throwing myself into every aspect of narrative storytelling I could.
For Mike Mills, I learned that having dance parties and crying with your cast does not make you a weak director, it makes you a strong director.
It's always a nice feeling, having people think that you feel things much deeper than you're allowed to say, but this isn't true. If you want to find out what a writer or a cartoonist really feels, look at his work. That's enough.
Autobiography should be more stringent. It should adhere more to the standards of journalism - assuming that journalism has the truth. The memoir gives you more scope, is more poetic, and allows you to play around with your own life.
The big cop-out would be to accept popularity rather than opting to try to create potent work. It's so easy to do the popular thing, the expected thing, and that's where you start to cheat yourself - and your fans, in the end - because there's an inherent dishonesty in pandering and dishing up what everyone's expecting.
Yes, actually ever since I saw his films and tried to write about them, Sirk's been in everything I've done. Not Sirk himself, but what I've learned from his work.
Prose-it might be speculated-is discourse; poetry ellipsis. Prose is spoken aloud; poetry overheard. The one is presumably articulate and social, a shared language, the voice of "communication"; the other is private, allusive, teasing, sly, idiosyncratic as the spider's delicate web, a kind of witchcraft unfathomable to ordinary minds.
Film should be looked at straight on; it is not the art of scholars but of illiterates.
Subscribe for the occasional hand-picked quote. No noise.