I think when my parents were together, my family was too prosperous for our psychological health. Not that they were that rich, but I feel that usually inherited wealth causes psychological problems.
— Whit Stillman
I think one of the saving illusions of the film business is everything seems like it's about to happen. It's always about to happen. It's only looking back that you see the wasteland.
What I find remarkable is that so much of the 18th century literature that I read is more accessible than reading your alternative weekly from ten years ago. People really aspired to write clearly.
I've gotten to really, really like being back in the States. It's so easy being in your own country, and I really like Americans - typical American towns and provincial college towns are my ideal place to be.
It's intimidating for guys to hear women complain about their boyfriends. Guys imagine that girls are thrilled to have them around, and this is what they really talk about.
My family was entirely political, all the time, on the left. The opposite of that is not to be political on the right. It's trying not to be - politics is not everything. There's life other than politics. Politics intrudes.
The great thing for me is how Hitchcock uses guilt so well. He implicates the spectator in the character's field, and you really feel it, and there's incredible relief when it comes out right - if it does come out right.
I had, in college, a professor called Walter Jackson Bate, and he taught a course called The Age of Johnson. It's about Samuel Johnson and his period, 18th-century British writing. So we all got to endure Samuel Johnson, and Boswell's 'Life of Johnson' is now my favorite book. I read it all the time I can; it's great for going to sleep.
I'm a late bloomer. Even in high school, everyone else was charging ahead, and I didn't come into my own until very late. I feel that's true in cinema, too. I didn't even start 'Metropolitan' until I was 37.
Coming out of college, back to New York, where I didn't really know that many people, I thought our world was very atomized.
I learned that you have to say that you're a filmmaker. You're not a screenwriter; you're not a director for hire. You've got to take charge. You're a filmmaker, and you're going to make a film.
I didn't realize how limiting an R rating is. I made 'Disco' as a cautionary tale for 14- and 15-year-old girls, and those girls were not allowed to see the film by their parents.
Happy is the small business that can hire additional employees besides the proprietor; rare is the indie-film enterprise that can be happy in this way. The norm is an unpaid principal with no employees between productions.
The usual key to getting films made seems to be a producer's terrier-like determination not to let it go. Unfortunately, such producers often seem prone to sinking their claws into mediocre projects.
Making a show is such a long process. You go through a TV production house that will commission scripts, and if they like what you've written, they take it to a network and sell it to them. It has always felt very far away from something that's actually real.
I don't think there's anything cliche feminine about Jane Austen. And, anyway, her earliest champions were Sir Walter Scott and the Prince Regent.
Oddly, in a sense, I still have more confidence as a director than my ability as a writer. Somehow, directing is just really easy. It's just about being really honest about how you feel about what you're seeing.
My whole career, only one person has stepped up to back me. All these people say they like your films. They say this and they say that, but no one actually does anything.
I'm totally devoted to '30s cinema.
My friends in Paris are writers, or something like that, whereas my friends in New York are doing cool stuff in finance and living very different lives. In writing, it's pretty solitary, so it doesn't really matter who's around.
With all my films, the pace is not very fast, and so people get bored with them and comment that they're just people talking in rooms and all that.
There's something really admirable about French culture and an attraction in how independent it is from our own. So, it's odd that in other countries that are very American-influenced - who seem to care more about the Oscars than anyone here does - there's both anti-Americanism and also too much America.
I think my favorite two words are 'true blue.' I think those words are really important, and the spirit of them has been lost.
Whether for company or isolation or just to make it a pleasurable experience, I have music in my ears all the time. I tend to listen to the same things, so I don't really pay too much attention to it. But it's there, and it's nice, and I do pay more attention to it than I probably should. I think, 'How can I use this music in something?'
That's why I hate the outlines and treatments, because all you get are cliches. If you put things down on paper as your plan, it's very hard to get those ideas out of your head and do something better.
I can fake decent penmanship, but generally, it's really just terrible. And, unfortunately for me, maybe fortunately for the reader, it's very often illegible. If I get an idea, and if I do remember to write it down, which is rare, I write in such a way that I can't read a letter.
I remember when I was trying to do 'Metropolitan,' in breaks I would read a page of two of Jane Austen as a palate-cleanser.
I read one Jane Austen in college and didn't like it at all and told everyone how much I disliked it. I read 'Northanger Abbey' sophomore year in college and hated it. I didn't read good Austen until after college, maybe a couple years out.
In Mexico, wealth and poverty live next to each other and are cordial with each other - in my experience.
Paris is a Roach Motel for top American journalists: They check in, having won the plum foreign posting, but never leave.
My biggest false steps have actually been when I tried to do very different projects. I found I was getting people saying, 'Why does Whit Stillman think he can do a film about blacks in early '60s Jamaica? Or the Chinese and the cultural revolution?' Those were the two biggest failures I had getting off the ground.
When you're doing the work, film and TV are exactly the same. TV is just film in reduced pieces.
Coming out of university, one of my obsessions was that in the novels I was reading, they seemed to be portraying a world that had a social fabric. People knew each other in 'War and Peace.' They went to all the same balls. These were societies with tightly wound, woven, social textures.
So much of selling a film in the industry is about creating a fulcrum where all the pressure comes to bear, and something seems suddenly valuable and approved by an audience. It's amazing how people could pick up tons of films on the cheap, but they don't because they wait until everything is laid out for them.
Generally, I like people's trunk projects, the things they were working on before anyone knew who they were. I think when people run out of their trunk items and they start doing stuff just to do a film next year, the quality goes down, the interest goes down. Maybe it feels commercial or something.
I love making cheap films. I really do. What I've found is that I work better when it's both a fairly low budget and a short schedule. It focuses the mind, and it's a better atmosphere.
I feel that if you want to make films, you have to be willing to make it without a fee. You get a deferment, I guess.
Paris is the destination for brokenhearted American women. I think men go there and have their hearts broken, but women come there with their hearts broken.
At the New York Harvard Club, they've moved the memorial for those who died in World Wars I and II up to an obscure little hallway; they used to be in the main hall, in the most prominent location. The sacrifice of those young people I always found so stunning and so admirable.
I like to allow a story to arise as I'm writing scripts. I find it horrible when I try to think of something for the plot without really being on the ground and seeing where it goes.
I was in Paris for nine years, starting in '98. One of the great things when I was first there were these wonderful CD collections, selling for almost nothing. For ten euros, you'd get three CDs of all the Gershwin songs.
There's so much of this thing now, where you're supposed to do all the work before you get the commission. I think it's really good to try to resist that. If you just have a week to come up with a pitch for something, your ideas aren't going to be very good. Get your income from somewhere else, and keep your writing not tied into these contracts.
If you're sort of interested in politics but sort of upset about contemporary politics, it's kind of wonderful to read about periods who were very eloquent and admirable - generally. People are articulating ideas you can sympathize with or understand both sides of. Or at least feel like one side is saying the right things.
You have to constantly work on your script if it needs it. You don't accept, 'Oh, I did a draft and...' No, it's your responsibility to work on the script as much as possible and make it better and better.
I'm not sure what my material would have been if I'd have started earlier. I probably would have started with 'Damsels in Distress' kinds of films because that's the kind of comedy I was writing in college. So I didn't really have any life experience to work off of.
What I like and find liberating in dialogue comedy is that the characters, and what they say, are not me. These are fleeting thoughts and observations and not presented as truths but as something that illuminates the character and the dynamic between the characters. This kind of dialogue is thesis and antithesis - and we never get to a synthesis.
The dull externals of the screenwriter's working life are well known: We are the people taking up too much table space at cafes.
I have to embrace the fact people find me divisive, but I find it remarkable. I was very disturbed by the hatred 'Damsels in Distress' received.
Sometimes, people who are very fastidious about what they're going to do in their work are not very fastidious in their private life. I'm like that. I love it when people do really nice things around me, but I don't have time to do it for myself. It's very hard for me to even buy a new pair of trousers.
One of the downsides of money is if there's no money, there are very few real jerks who are attached to your project. And if there is money, you do attract some very difficult, unhelpful people.
