In Madeleine's face was a stupidity Mitchell had never seen before. It was the stupidity of all normal people. It was the stupidity of the fortunate and the beautiful, of everybody who got what they wanted in life and so remained unremarkable.
You can't beat a love triangle.
There's no point in really making something if it doesn't appeal to a lot of people or the masses or if it's not seen by a lot of people.
It's hard to know at any stage whether a show is going to work or not. Every few years, a different trend comes along.
I like working, I'm not into relaxing. Work motivates me, and even when I do take a holiday, I meet friends, talk about projects and set up meetings, set meetings between other people, or get involved.
You can have a good vibe and a good feeling about something, but you never really know how it's going to be received and how an audience is going to react to it.
Sometimes during a show or a film, while you're shooting it, you'll think, "This is great, it's going to be fantastic, the script is incredible, and the actors are great, and everything is working out brilliantly. " And then you see it, and you kind of go, "Oh god, it's not as good as I thought it was," and it doesn't get an audience to watch it. It only does a couple of festivals and then dies and whatever.
If I could be really competent, that goes such a long way toward things, because the majority of things are not competent. If I can be competent, and have moments of originality, that's all I would ask for.
I mean, if I went into my closet, I could find a previous draft and try to figure that out, but it takes a long time for me to find the voice to tell a story in. I was working from other points of view for a couple years there.
Something is profoundly wrong and we are desperate for justice, for restoration and for somebody somewhere to do something about this.
The professional guts a book through - in full knowledge that what he is doing is not very good. Not to work is to exhibit a failure of nerve.