Ann-Margret Quotes

I knew Spike Jonze would do something really interesting with it.

Independent films are where you really get to cut your teeth and have some fun and do the things that mainstream Hollywood doesn't want to do.

I'm living as an artist, and that's a staggering feeling, it's a total luxury. And because you have this amazing chance, with so much freedom, I'm determined to make something that is worth that. I feel this responsibility - to create something that makes an audience feel, which takes them somewhere. But that's very hard to achieve.

At least I want to be making films that are somehow born out of me that are stories I want to tell. The challenge is figuring out how to do it where you can make them personal, yet still deliver to an audience a film experience that is satisfying and emotional, and that's what I'm trying to do.

The most outrageous shoe that I had to do was a shoe where the person gave me stones - precious stones - and say that I could do anything with precious stones.

To find a form that accommodates the mess, that is the task of the artist now.

Doing a musical is like having a kid. It's out there alive somewhere. It's not like a movie or a TV show where what we intended is what everyone will see. The kid can act out. The kid's going to do what it wants to do.

I'm very attracted to directors who want to experiment. The thing that attracts me the most are people who are trying find a language that is correct for their film, for that specific film.

I'm doing the kind of show that I would want to see.

I don't want to feel what I'm creating on film has an outcome that is preordained. I don't think of the world as a place with a divinity that shapes our end. What you try to do with film is create, as far as you possibly can, an unfolding present - a theatre in which an outcome happens and is tested.

I definitely think independent film is very exciting, and you get to sometimes take bigger risks. So that's always a challenge and something that I look forward to.

The essential nature of all filmed entertainment is that you area always straddling the line of whether or not you can realize something that you want to do.

I never limit myself when it comes to telling stories; I think people can see that in my body of work. It's just about, 'What's a great story? Is it unique? Is it a challenge?'

With 'Boxer,' we made the kind of music we wanted to make and didn't really worry about what the expectation was.

I am certain about what I will never do - but not about what my art will render.

There's nothing worse than the frustration of having somebody who you feel doesn't get what you're doing, trying to turn it into something else. It's a very, very annoying and sort of frustrating thing and I just never wanted to go through it. I was very fortunate as I came up through the film business that I was able to insulate myself from that.

One of the reasons I love making movies is because it's an opportunity to share with the world a different way of being or a different way of living or seeing the world. If it's something you've already seen before, if I have too many reference points for it, then it's not exciting for me to make.

I can't work without a model. I won't say I turn my back on nature ruthlessly in order to turn a study into a picture, arranging the colors, enlarging and simplifying; but in the matter of form I am too afraid of departing from the possible and the true.

A novel determines its own size and shape and I've never tried to stretch an idea beyond the frame and structure it seemed to require.

I think I'm pretty committed to staying. I'm not committed to not doing big movies, but I am committed to continuing to make smaller movies, not for the sake of making smaller movies, but because I think it's really invigorating to just go work with people and know that it might be awful.

Art does not imitate, but interpret.

I am not interested in rules or conventions. Photography is not a sport.

Anything that might come under arts should not be subject to the whims of the idiotic market because the market's stupid, and it gravitates toward simplicity - towards essentializing things so they can be sold.

I find it hard to believe that the machine would go into the creative artist's hand even were that magic hand in true place. It has been too far exploited by industrialism and science at expense to art and true religion.

I would say I was challenging the system quite. But I like to think that if the choices I make are slightly unexpected or challenging to people, then that is good. We are definitely three fairly like-minded people in terms of what we value in scripts and in storytelling.