Greece Quotes

No studio picks up the phone after seeing 'Dogtooth' and goes, like, 'We have the next superhero movie.' Though if one did, that would be an interesting studio to work with.
Of course I know what works for me and what kind of tone I want my films to have.
Of course you can't do anything completely original.
People influence each other, so one screening will be filled with laughs while another is dead silent.
Personal relationships, mood, chance, or anything like that can actually affect people's decisions, and when they're in a position of power, their capriciousness can affect the fate of a nation.
Provocative... I used to be defensive about it, but in the end, I realised it's exactly right. It's what we're trying to do - to provoke thought and discussion and, you know, shake people up to start thinking about things in a different way. I'm interested in messing with what they think is the norm.
Rebellion is not always the right thing. Following the rules is not always the right thing. You have to think for yourself and identify the things that do not work for you.
Something that's a hilarious comedy, for someone else might be a drama.
Sometimes people say things and don't really know what they mean by what they're saying. Subconsciously, it might mean something different.
Starting in Greece, you couldn't really say, 'I'm going to become a film-maker.' A 15-year-old boy in Greece in the '80s and '90s? There was nothing like that happening.
Telling a story is the way of exploring so many different things - human behavior, society, whatever existence.
The actors bring their own stuff and thoughts, and most of the time, I don't want to know what they are. It allows me to have more distance and observe what they're doing without having the knowledge of what they have in their minds, so I can see clearly how that feels to me.
The best way to watch a film is to not know anything about the person who made it.
The first time I was paid was with 'The Lobster,' because with the Greek films, we just had to pay ourselves - work for free while making commercials in order to survive.
'The Lobster' is very particular, and we did need to create a very specific world with specific rules so the whole premise would work.
'The Lobster,' at some point, was my most accessible film. Then I made 'The Killing of a Sacred Deer,' which turned out to be not as accessible as 'The Lobster.' It was the film I wanted to make and the story I wanted to tell.
The most important thing is to allow gaps and openings for people to make up their own minds - I don't want my film to be pretending to have one important truth to tell anyone.
The way I work, and the material we work with, I think if you analyze too much and have too many specific ideas, it just becomes a little bit too superficial, and then performances might become too self-conscious and project relatively narrow things.
There are things to love about filmmaking in Greece. People are generous: If you get along well with others, the people around you will give more than they might otherwise be willing to give, more than they're supposed to.
There are various ways of delivering some kind of truth, so I try to find the style or the way that I find more effective.
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AuthorName
Adam Baldwin
Profession
Actor
BirthDate
27 February, 1962
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