Parker Posey Quotes

But I'm never gonna get to a point in my life where what it costs to shoot a movie is going to determine what it is. The limits of my imagination is the only thing that's gonna stop me.

In order to understand what they need to understand, in order to write what they write, they have to be free. And yet, they aren't ever free. They are not free because they are not free of the constrictions their art puts on them.

I'm a big believer in creating parameters for creativity. I think parameters make people more creative. So that starts with my budgets. I only do low budget movies, and I think that makes the movies better.

It has nothing to do with commercial success. You cannot calculate in your head how to put the mosaic together to make a commercial film: that's out of the question.

When the uncreative tell the creative what to do, it stops being art.

Rules limit you, and once you start thinking about what the audience wants or expects, it becomes a trap that a lot of artists fall into.

Every artist knows that there is no such thing as "freedom" in art. The first thing an artist does when he begins a new work is to lay down the barriers and limitations; he decides upon a certain composition, a certain key, a certain relation of creatures or objects to each other. He is never free, and the more splendid his imagination, the more intense his feeling, the farther he goes from general truth and general emotion.

In art, there is one thing which does not receive sufficient attention. The element which is left to the human will is not nearly so large as people think.

Artists themselves are not confined, but their output is.

The artist never really has any control over the impact of his work. If he starts thinking about the impact of his work, then he becomes a lesser artist.

I produce the way I would love to be produced: In ways to create the best conditions to make your movie, but also to create a space in which the director calls the shots.

You seldom get that in film where you're lucky if you get any say at all in the final cut.

In America there's no way I can make the kind of movie I like to make.

When you make a movie, you can only make the movie that you would want to see.

Knowledge is death in my experience. The more I know about film, the harder it is to create freely.

There's a good many pictures I'd like to make; we'll see how many I'll be allowed to make.

'Frances Ha' is the closest final product to what I had in my head of any movie I've made. I'm not entirely even sure why that is.

It's impossible to control the reception of your work - the only thing you can control is the experience of writing itself, and the work you create.

'Senna' took five years, 'Amy' took three years. You try and say, 'Look, there's no deadline.' That's important. Just saying, 'We've got to make the film. And once the film's ready, it will be out there.'

The enemy of art is the absence of limitations.

I decided to do whatever I could to make sure the business side of music didn't intrude on the creative part.

I was fortunate to write pretty much a year out of film school and start making movies in the Hollywood studio system. But with each progressive film it became more frustrating not being able to speak and say things I wanted to say.

There's no way I see myself as a director. Direction is far too creative.

I've seen situations where I think comics are really unrealistic about what creative expression and what the artistic freedom, what that entails.

Nobody wants to make something that displeases people, but once you make a film, that's out of your control and you can't think about that. You just have to follow your head and make sure that you're satisfied by putting down what you intended.