Ti West Quotes
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I don't think you want to preach to people. I don't think In A Valley Of Violence, and the same with The Sacrament, there's a social commentary and a political element to both the films, but it's not like, "Think this because I think this."
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As filmmakers, the Western is a historic, cool thing to be a part of once in your life.
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One of my favorite scenes of the movie [Valley of Violence] is when Ethan Hawke is sitting at the campfire with the dog.
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You're limited to one image, but you can have 50 audio tracks. It's something you'd be foolish not to experiment with. So I'm also very interested in sound that happens offscreen. I think that's a way to expand the scope of the movie. And it's all very planned out from the script stage. For me, sound design is a major part of the narrative. I think that's what makes working with certain people on the producer level difficult.
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To me it's not so much that the movies are slow-paced as much as they are about spending time building a relationship between the audience and the characters. If you don't spend an adequate amount of time doing this, then how can you expect to scare anyone?
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I found Jumpy on YouTube. I wrote a movie about a guy with a dog and was like, "What have I done? This is going to be a nightmare. We're a small movie and we're never going to be able to do this."
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Humor is more so. For this, there's definitely moments that I think, "I know this part is really funny and I want to see people laugh." And they do and you go, "Yesss." That's really satisfying, because I'm so proud of the performances in the movie and everybody worked so hard.
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The hardest animal was the vulture. But the horses were great, the dog was great [in Valley of Violence]. It was really easy.
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I think having funny characters is just one way of having three-dimensional characters.
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Technology has just been the major progression of the last 15 years - instant communication. That stuff has gone so global. That's what's interesting about it. When someone sits down in front of a computer, it's the same everywhere in the world, and it's the same screen looking back at you with the same Google, and there's no individuality to it. So I decided it would be kind of visually uninteresting to have in my films.
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If you make just a straight scary movie, people are just - you don't know what they're thinking.
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The movie [ The Innkeepers] is in no way a comedy, but I would put some of the funny scenes up against some of the funnier comedies this year. I think it's genuinely really funny, but it's out of the gallows.
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If people don't like [my film], the ship's sailed. There's nothing I can do about that.
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I've done it with all my films. I always keep an eye on the first time I show it because... I don't know. Neurosis.
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You want to be able to say [to Ethan Hawke's character], "Dude, it's okay," but maybe it's not. Maybe he's not a good person. I don't know. That's the thing about people. There is no real good guy or bad guy [in A Valley Of Violence]. It's all context.
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I have a romantic comedy I'd love to make, but I can't get the money for it. It's hard to get people to give you money for an arty romantic comedy when you've done a horror movie. So I can just sit there and keep complaining about that, or I can go make another horror movie this year. People will get behind me on that, because I'm relatively bankable. As long as I can do my own thing with it, I'll keep doing it.
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If you ever see the director pulling people aside, that means something's not working. Because you're trying to figure out why it's not working. But we would show up, we would talk about it.
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We can't make a giant sprawling movie. We're going to make a small movie. And what we got is what I could get, performance-wise.
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I just really like seeing mundane stuff in movies. It's realistic.
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We've become so postmodern as an audience and we're so familiar with the style of horror movies that they all kind of feel the same. I think if you can do something a little bit unexpected, then you as a filmmaker end up being one step ahead again. I think that's the key.
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Sometimes I look at it [Valley of Violence] and go, "How did we do that?" But it's a credit to Ethan [Hawke], he had done White Fang, so Ethan is like, "Oh God, that's right."
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Of course, we talked about Westerns we like with [James Ransone in Valley of Violence] , but it was always thematically in relation to the movie and what the themes of the movie were.
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I always feel like the less you say when you're making a movie, as a director, is the best. That means everything's going great.
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I did the movie [Valley of Violence] from two perspectives. You're with Ethan [Hawke] the whole movie, but for the first half, you're really with Ethan. For the second half, you're with him, but also you're with the bad guys because he kind of becomes the bad guy. No one's really good in the movie.
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I do think, even though I've made these genre movies, there's what happens in the movie and then there's what the movie's about. And for me, what the movie's about is so much more interesting.
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In general, I go to see the stuff that for me is, "Thank God for that actor, he's doing something that I never imagined; thank God for this filmmaker, because if this person didn't exist, this movie wouldn't exist." That's why I go to the movies. That, to me, is what's so exciting about this movie.
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I like movies that leave things in the hands of the audience.
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It's Ethan Hawke and John Travolta [in Valley of Violence]. It's awesome. They're awesome.
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Typically, in Westerns, people who are in a Western feel like they're in a Western. It's almost like they know they do all these Western things.
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It's this long monologue [in Valley of Violence] with Ethan Hawke talking about life and everything with a dog. That's not in movies. Hopefully when people think about the movie when they go home, they're like, "That's weird. He's maybe crazy. He's talking to a dog the whole time."
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