Karyn Kusama Quotes

There's nothing that can beat the feeling of doing a movie or a TV show that makes everyone feel good.

The point of what I do is that it doesn't really matter what a book or a story is as long it moves you, informs you, challenges you, entertains you, or changes you.

What counts is putting the intensity that you yourself have experienced into the picture. Otherwise it is just a document.

I want to do movies that I'm proud of where my kids, at some point, can see and I can feel comfortable sitting there watching it with them. And just that move people. That make people feel a little bit better about themselves when they leave the theatre.

I believe there are more films that involve love and forgiveness than violence, but they often seem fake and are almost embarrassing to watch.

The audience likes their emotions to be touched. They want to laugh and cry and feel good.

I question what emotion Manilow touches. People are entertained by him. But are they emotionally moved? I don't believe anything that Barry Manilow sings.

I love films that make you feel good when you come out and, in my opinion, there's not enough of them these days.

ABC Family is where the good stuff is at. I'm so excited to be a part of this network because they've really done a great job introducing shows that are heartfelt, exciting, and everything you'd want.

I think that's a great opportunity, to pick a script where you can build up a good skill. I think the main thing I look for when I look at scripts is if it's inspirational. If it's something that teenagers can relate to. And is it something that the audience is going to get something out of. If not, then it's really not worth doing.

If you have a movie that doesn't strive to go to a certain emotional point, you can do anything and it will be fine and funny. But if you have something pretty emotional at its core, you have to make it right. You don't want it overwrought or unearned. Everything has to be moving towards this one thing.

I'm interested in telling stories that add up to more than the entertainment of the story. That's what does it for me.

It's great that we have commercial filmmakers who make family films and understand the aesthetics well, taking this route. They know how to bring the emotions out there without being vulgar. After all, it's a natural instinct.

The simple, sweet films without the star power often manage to tell a better story.

When something is heartwarming and triumphant, and not corny or preachy, it's such a powerful thing.

You have this idea that Hollywood is all about making money and is very impersonal. But 'Love, Simon' is such a passion project for director Greg Berlanti.

There's so many great wrestlers in this sport who could probably work circles around me and it's amazing to see that, but I love being the kind of character who can take you on a roller coaster, make you smile and laugh.

I don't want to be a stereotype; I want a character that's aspirational.

I have no interest in movies that take you somewhere dark and leave you there, for no reason.

Whatever you write about me, don't make it sad.

Sometimes films about oppression or suppression can be quite maudlin and quite dour. Sometimes you need a little sugar with the medicine and I think of myself as the little sugar.

I think that people want to go to the movies and watch shows on TV or in theaters that make them feel good and music really does that. Not only can you watch something and connect to dialogue, but when you listen to a song, it gives a whole other element of connection and you get that feeling like you want to stand up and dance and sing.

I think the hardest thing about the part is the responsibility that you feel playing something that is so real and resonant in our times. There are people coming home right now with those stories, and I'm just an actress pretending to be that person. You hope that you can shed some light on somebody's predicament.

The idea behind doing comedies is that you go home a little happier.

You've got to sell your heart, your strongest reactions, not the little minor things that only touch you lightly, the little experiences that you might tell at dinner. This is especially true when you begin to write, when you have not yet developed the tricks of interesting people on paper, when you have none of the technique which it takes time to learn. When, in short, you have only your emotions to sell.