I try not to articulate ideas in the film once I've arrived on the plot and the characters. I believe that if I focus my attention with enough compassion and heart on those things, then other things will be revealed, and that's from the education that I've had from the novel.
I make films that are very personal, and I always have. It's kind of the only thing that I think I have to offer as a filmmaker: the intimacy I've had with experience in a particular world, so the film comes from things I've seen and things I've felt. It gets transformed by the process. I don't think I'd ever start making a film until I had both the intimacy with the subject and the distance to make it live in a certain way.
So there's a choice that I made to tell stories that are still psychological melodramas about domestic issues. The challenge is to figure out how to make 10 films a career as a filmmaker, and that's a really challenging thing.
I tend not to think that anything I happen to be reporting on in my films is special. Meaning that people are always saying to me, 'you must love New York, you have it in all your films.' But mostly it's because I know New York, and I know Brooklyn at this time. I know the lives there, because I have lived in them.
When working on and writing a film, I'm often more of a sponge than other times, aware of what's going on around me.
My early films were about self discovery, and films of internal conflict. At that level, they were very personal.
The praise helps on a deep level, which gives you the grounding that encourages you to trust yourself. On another level, each film is a risk, and the praise doesn't save you from that risk.
The questions of economics, and how they infect, or rather how they affect intimacy. And that's probably the subject of all my films.
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