Todd Solondz Quotes

There can be a blurry line between laughing at the expense of a character and laughing at the recognition of something painful and true. But blurry as it may be, it is nevertheless unmistakable, and sometimes the laughter I hear makes me wince.

Narcissism and self-deception are survival mechanisms without which many of us might just jump off a bridge.

Some people will of course accuse me of misanthropy and cynicism. I can't celebrate humanity but I'm not out to indict it either. I just want to expose certain truths.

A palindrome is a word or pattern that instead of developing in different directions it folds in on itself so that the beginning and end mirror each other, that they are the same.

The ability to take pleasure in one's life is a skill and is a kind of intelligence. So intelligence is a hard thing to evaluate and it manifests itself in so many different ways. I do think the ability to know how to live a life and not be miserable is a sign of that.

Storytelling is the only studio movie where the censorship is perfectly clear, the only studio movie with a big red box covering up a shot. I take pride in that - and, of course, in having avoided the fate of Eyes Wide Shut.

The ability to take pleasure in one's life is a skill and is a kind of intelligence.

When I want to show the kind of meanness people are capable of, to make it believable I find I have to tone it down. It's in real life that people are over the top.

So much of what a pet is about for us is that it becomes a vessel for yearnings, dreams, illusions, hopes and so forth. It's a projection of the ultimate innocence and purity. That's why it's hard to see a dog in its dogness. That's why, when some harm comes to a dog, it's much harder for an audience to deal with that, more so than dealing with harm that comes to a child or anything human.

So far, at least, I haven't found a way to tell my kind of stories without making them both sad and funny.

Optimism is not inherently a superior way of viewing the world. Certainly doctors will say it might be better for one's physical health to be an optimist. But, morally speaking it may not be appropriate in certain circumstances.

Usually the audience has no idea that the censored version of whatever movie they're watching isn't the original.

Casting is everything. If you get the right people they make you look good.

And that's just what I'm saying. I would never want to be like certain people, who change the way they dress, go out in disguise, wear a big floppy hat and dark shades. I would hate that.

Part of it has to do with this business of being approached in public. I have a distinctive look - it's partly the glasses I wear - and people seem to remember me once they've seen me.

When part of what you're trying to get at is the truth hidden under a taboo, or when you want to nail a hypocrisy, laughter is a very useful tool. I want to show the painful side of existence, but there is no question I also want to make people laugh.

In particular, people have trouble understanding where I stand in relation to my characters, and very often this gets reduced to me making vicious fun of them.

I mean, there are many other directors who are probably both more skilled and excited to adapt novels or work within certain genre conventions. I'd like to do that kind of work someday, but for better or worse I'm too drawn by my own material.

All I mean is, I'm not the kind of audience comedy directors want at a test screening because I seldom laugh, and if I do, it's not very loud. That doesn't mean I don't like the movie.

I admit there’s an element of brutality in all my work - it’s part of the truth about human existence I always want to explore - but the last thing I’m trying to do is put on some kind of freak show, inviting people to get off on other people’s pain and humiliation.

Some directors hardly talk to the actors at all.

It's one of the great gifts of having so little money that you are able to make these kinds of radical conceits that you could never afford to do had you had a reasonable budget,.

I mean, I don't want to sound - of course it's very nice, people come up and say appreciative things about my work. But the loss, in terms of privacy and anonymity, is no small thing to me.

As Mark Weiner puts it, whether you gain 50 pounds or lose 50 pounds, whether you have a sex change operation for that matter, that it doesn't matter, that there is some part of ourselves that we cannot escape.

Art has a smaller audience than, say, movies or other forms of mass consumption. But that doesn't mean the work doesn't have an impact in a way that transcends just a few cultural arbiters.

Artwork can be a portal, a kind of rethinking and reseeing of the world as we live it.

We say we embrace humanity, but what does that mean? We are all defined by our limits, so to what extent can we embrace all this? Because we all contain within ourselves equally the capacity for kindness, as much as for cruelty or evil. And the best of us are able to suppress those baser impulses, instincts. That's the war within.

Every time you try to make another movie, you never know what will come of it. I can't say it ever gets easier, but it is in it's own way gratifying. I think that because no one movie that you make ever quite satisfies you, you're always feeling, "Next time I can get it right."

That is definitely a misunderstanding between me and a part of my audience. To be honest, I am often unsettled by the responses some people have had to my movies, and that includes many people who like them.

For me, New Jersey is kind of a mythical place. It's emblematic of a certain aspect of American life. Florida is the same way. It's where people go to recreate, to reinvent themselves. It's what California used to be. I think Florida is still a place to erase the past.

I don't have a formula. Every time an actor wants me to hold their hand, I hold their hand. If they say, "Stay," I say "Okay, respect." You know? "I'm right over here." A kid, if I need to give a line-reading, I'll start acting out the part for the kid and just mimic the kid. You know? Whatever it takes.

When I'm asked who my audience is, I say someone with an open mind, which is not a vacant one and sometimes a liberal mind is not the same thing as an open one.

People call you "director," but it really should be "economic manager." Because everything is "Well, we can do another take here, but then you're gonna lose that shot over there." Or "The sun's going down, sorry, you're outta luck. We can't afford to." You know? And meanwhile, how do you get the performer's performance? I'm thinking the whole time all about "How can I get my day done?" And my performances are primarily a result of casting the right people at the right time in the right parts. And then I do little modifications.

At eleven I was at the peak of my creative powers: I was writing stories and playlets, putting together poetryprojects. I was absorbed by my 'work.' At twelve I was no longer reading or writing, just counting off days and checking them off. I was interested in survival.

One thing I want to say: I don't like victim stories and I don't write them.

I think success is a lot more healthy than failure.

Some people see me as dissecting my characters in some kind of heartless, coldblooded, analytical way, when in truth making these movies is a passionate, intensely emotional experience for me. I'm detached from the characters only to the degree that I have to be in order to write honestly about them.

What makes me angry is the idea that people would be going to a movie because of what I said about it. It makes me feel, I don't know, arrogant, self-important, self-aggrandizing, whatever. Like I'm being used.

I've always said that I myself am not the best audience for my own work, because I'm just not that receptive to comedy.

I don't make movies with the idea that people are going to walk out of them feeling comfortable or better about themselves or more secure in their own biases or opinions.

When I go to the movies, I do like to see things that surprise me, a little bit, in ways that seem truthful to the world that we live in.

What makes me put pen to paper? You know, that's the million-dollar question. I've been writing since I've been reading. It's not a question I think that's even meant to be answered, but it's something you always seek to discover the answer to. And the process of filmmaking is one of discovery, and self-discovery at that. Pleasure... it's not exactly what I would call fun, but it's absorbing.

A movie takes on its own life, and you have to respect that and be open to it.

You always have to be ahead of the audience so that they have to always catch up and know the movie's not quite going exactly where you think it's going, or expecting it to be going.

Compromise is part and parcel of making a movie. It's a question of the kinds of compromises that you have to make.

I can't please everybody and I don't try to. If I can please myself that's enough. For the rest, I just hope for the best.

That said, be mindful, to someone who's never seen any of my work, it's just a movie with actors. So it's only those who of course know the earlier work that will see something is afoot, so to speak. But I don't want to intellectualize.

The funny thing is, strangers still seem to feel comfortable coming up to me and saying things, but now usually it’s because they recognize me, and they say nice things.

What's most insidious about MTV is that it commodifies precisely those things that young people believe are subversive. In other words, subversity itself has become a commodity. It's all a way to trick young people into believing that there's something unique about what they do, but this is all completely a corporately designed maneuver.

I always make mistakes and I always fix things up, as best I can, in the cutting room.