Debra Granik Quotes

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#TimesUp is you can't hold it in anymore: Time's up! The doors have to give way. It can't be that every 27-year-old born into a male body is a designated genius. It can't be that the language used to review...

Emerging actors know there's a whole lot to learn each time they are spending with someone who's done a lot.

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I'm reaching for emotion and drama, the drama of the everyday: what happens when you don't have shelter, food, and clothing. There are some stakes. If you're displaced or evicted, there's a suspense: How will you solve that?

The process of starting up a new film is one of looking through a lot of material and trying to find something you really like. And it does sometimes take a minute.

We're always on the search for a novel or a source or an existing screenplay, or writing something ourselves that turns us on. But because films cost a lot of money to make and a huge amount of effort to...

Sometimes I struggle with being American.

In Hollywood, only a female who's massively damaged is interesting.

Films set in 90210 are ten a penny. But there's rarely room to make films about a different postal code, to show the lives of ordinary Americans who have to live with very limited material resources.

It's risky to show poor Americans. People see it as a downer. But I really wanted to make a tightly wound piece of storytelling that also happened to explode the myth of American affluence.

It's been a pleasure to see female comedians be prominent and flourish - like Kate McKinnon's Rudy Giuliani impressions, which are uncanny in their precision.

I come from what they call the land of nowhere. I'm from the suburb. It's extremely atomizing.

You can't make movies without known names, and unknowns can't become known, because they can't get work.

Stereotypes are convenient. And yet within them, everyone will say there's something that - you know, they don't come for no reason. It's just that it takes time to explore complexity.

For documentaries, I think streaming plays an amazing role, but it's a problem when the one service you initially relied on to have an incredible buffet - 'Come and see a lot of world cinema, and the lives of ordinary...

Our necks are getting injured from looking down, and the movie screen gives you opportunity to look up, you know? It gives you an opportunity to possibly have a discussion with someone afterwards.

History has shown that there needs to be some agora, or public spaces, and I think that we already live a lot of our life on a laptop, or even smaller devices that we hold in our hands.

I think one thing that's always a concern to me is you see a role, and you're not seeing the character; you're seeing so-and-so do it. Then I'm taken out of the story considerably, personally.

It's kind of a test when you read a novel thinking about its potential for the screen: How does it play on your mind's screen?

Make your film for the least amount you can.

A big part of the equation for 'Winter's Bone' was making it for so little that we owe nobody. We had a guaranteed loan and were able to pay it back.

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