Todd Haynes
Director
1961-01-02
Books by Todd Haynes
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Quotes by Todd Haynes
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The first time I saw Douglas Sirk was in college. I didn't encounter him on the late, late, late show like a lot of people; people a little older than me, maybe. But I saw him already as someone to take special note of in an academic context in college. I was immediately in a state of visual splendor.
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Films like 'The Godfather,' 'The Exorcist,' 'Klute,' 'Chinatown,' 'Network,' and 'The Parallax View': They were drawn from the genre tradition, but they dressed down the stylistic telling of those traditions and genres.
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There's this homogenization, this big sucking motion in dominant society, to absorb all the disparate elements that define the margin or define the culture or define those who are thrust outside the status quo.
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I liked to act in plays when I was a kid, and then in college. But that's the last time I really acted. I always loved it. But my interests were more in looking at the whole, rather than getting completely swallowed up in a single part of the whole.
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Like the music and the period, I wanted 'I'm Not There' to be fun and full of emotions, desires and experiments that were thrilling and dangerous.
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Making a movie about the love between two women was really a tribute to the lesbian people in my life, my dear friends who are seminal in my life.
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Films like 'The Godfather,' 'Chinatown' and 'The Exorcist' brought a realism and currency and understatement to their genres that we wanted for 'Mildred Pierce.'
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I love stories of love cropping up unexpectedly in life almost as a problem, as something you don't ask for. Something that messes everything up and makes you rethink everything.
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Pop music can get inside us and enter our memory bubbles. It provides those true Proustian moments, unlocking sensations, unlocking our imaginations. Music inspired me as a filmmaker.
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'Evil Urges' has some stuff in it that's unbelievable.
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I'll never forget watching 'I'm Not There' with Cate Blanchett, because it was the first time she saw the finished film and saw her performance in it. I was sitting next to her experiencing it vicariously through her fresh eyes and hoping she liked it.
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Sirkian films really aren't - at least the way I see them, they're not about identification. They don't have voiceover. A lot of the love stories that are rooted, classic love stories rooted in point of view, use voiceover as a mechanism for locating you there.
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'Carol' takes place at a time the country was crawling out of the shadows of the war years, feeling the new vulnerabilities of the Cold War and conflicts within the union.
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Love stories require an obstacle between the lovers, something that keeps them from one another. You have to yearn for the love that can't be fulfilled. And it gets harder to conceive of viable cultural or racial or sexual obstacles between people as we move forward progressively.
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We yearn for the desire to triumph, and it almost never does in the greatest love stories because we're left yearning for it more in the end, and we wish the world were different as a result. I do love that.
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