Karyn Kusama
I just know I have so much to teach my child. And I just feel kind of like, what would our world be without mothers? What would our world be without mother love? I don't think we'd have a world.
I am a mother now, and I'm a mother to a son, and I want him to go into the world a feminist. I want him to go into the world with compassion for humanity.
What fascinates me is that when we look at the history of women in politics, so frequently the women who get the farthest are the women who are quite conservative in their political views.
I feel like, generally, the golden eras of cinema seem to be in moments of incredible political turmoil and strife and struggle.
When horror films are made in times of political strife, I think they're not made with an instinct to add to the chaos but to bring shape to it.
To me, sound is a crucial component to, really, any moviegoing experience, but particularly with suspense films or thrillers. I think you need the audience to become subtly really attuned to the soundscape in, like, this uncomfortable way.
I think there are always going to be people who say, even if they are engaged in the movie, they just want it to move faster.
I'm ultimately drawn to film many kinds of stories if they are sort of about unlocking the secrets of our human potential.
I ultimately am probably a pretty anxious person.
I'm just hoping that as I get older, and as more and more movies get made by female directors, what we start to see is how, in the same way good male directors get a shot at creating interesting male and female characters, women do as well.
When I reflect on the losses I've experienced, I've come to believe that those experiences were transformative, that they shaped who I am.
One thing I don't do anymore as I've gotten older is that I don't make big blanket statements about whether or not an artist is good or bad.
What kind of world is it if we allow people who are violent and do terrible things off the hook? What does that say about the world we're living in - it's like a world upside down, right?
It's hard to prep a movie in five days and shoot it in five days and cut it in barely any time. You don't get quite enough time to make the thing, let alone tell the story.
Polanski is a great example of a person whose personal life clearly has been just fraught with scandal and transgression and criminal acts. And yet, in 'Rosemary's Baby,' I think he's made one of the crowning feminist statements in film.
For better and for worse, I feel like sorrow and grief are really transformative personal experiences for me, and I question what I would be had I decided to take a different path and not embrace that kind of pain.
I assumed a business like a film studio would behave like a business and still want to protect its own interests, still do the best it could to get as many people paying for as many of their movies as possible. I realized this is not actually a business about business: it's a business of egos and dominance.
I don't want to direct a Marvel movie. I don't care about those mythologies.
I think there's a reason why some companies have such dismal records. It's not because they're clueless; it's because they systematically don't want to hire women.
What I do think is really interesting is that, as I get older and more mature, I'm really attuned to how frightening this world is that we live in.
Sometimes evil is in the form of a malignant clown, and sometimes evil is in the form of policy and legislators, and sometimes it's a grinning death mask and it has something more viscerally terrifying about it.
I feel a kinship to the idea of beloved stories and beloved pieces of art that we can imagine in different ways and sort of take a meta approach in terms of what those stories offer us.
Horror, almost better than any of the other genres, pits the will to live against the will toward nihilism. I just think that's worth exploring. I don't know what is more important, actually, to explore than that very dynamic.
The nice thing about movies is that you can sort of steer your audience toward seeing that there's discomfort, but there's also this sense of, 'Well, we'll tolerate this weirdness because maybe it'll be interesting.'
One of the things you hear about when studying the nature of fanaticism is that a lot of the time, people don't start as fanatics. They shift and evolve into that state. That's a process, a systematic process of losing your identity and sense of self.
It's freeing to be able to consistently make creative decisions and ask creative questions of the team without feeling like, 'Does this make me vulnerable to getting canned?' That's a big part of being in a studio - they can always fire you.
I love horror. It's funny, because 'The Invitation' never struck me as horror, but it's definitely that type of thriller.
The best horror walks a line that's completely on a psychological level, not needing the typical tropes of traditional horror filmmaking, then also having to tease out those elements in a way that makes the audience feel like they know what they're in.
One of the uncertain pleasures of adulthood, for me, has really been about confronting how little I know about the world and how much completely baffles me about the world and human behavior.
For me, I guess I feel like the notion of 'feel good' entertainment... I'm all for it, but I just think you really, really, really have to earn it. I'm not sure I have a lot of movies in me where I see a world that earns it.
I would love to make lighter entertainments that have you sort of hopping and skipping and jumping out of the theater, but part of me just doesn't know how much I believe in that, as much as I want to.
I'd like to be making more films more frequently, but I do find that making movies, for me, has proven to be an extremely challenging road. No movie is easy; no movie has come together quickly.
I think there is really something we need to examine about the notion of careers, and are women encouraged and given the same opportunities to have vital healthy careers in which they are challenged by certain things, they try new things, they struggle, maybe they stumble, maybe they fail, and then there's more room to succeed as well.
I've been asked countless times, 'Why are you drawn to horror films? Why do you think women are drawn to horror films?' And it's because, in a way, it's one of the few genres that tells it like it is. A lot of times, women do feel like they're running for their lives somehow.
I'm very interested in dysfunction. I kind of realized in my first film that a character with so much rage that she didn't know where to put it was both heartbreaking and interesting to me.
I think being a young female star must be really, really pretty rough.
Along with loving the script, the reason I did 'Aeon Flux' was because I needed the job, and I couldn't find $5 million to make a movie independently - after making a fairly successful movie for a million dollars.
I do think there's a preoccupation that women understandably have with this idea of the roles we're meant to play and whether or not those roles serve us or ultimately kind of imprison us.
For me, I feel like I don't see myself as all that different from other humans as a woman, but I'm surprised by how frequently I'm asked to see myself differently.
Sci-fi and horror, particularly, allow a storyteller to depart from, let's say, the demands of cinema verite or kitchen-sink realism or, even, just relatable dramas and can go into areas that are either - in the case of horror - more primally effective or, in the case of sci-fi, more speculative or imaginative.
The short form, for those people who can master it - and I am by no means one of them - it is very admirable, because it is really hard to tell stories that can stick with the audience and still be between 5 and 30 minutes long. I think it's a real challenge.
The genre of horror is really just a way to manage much larger, much more terrifying realities in our daily worlds.
Somehow, even though you have less time and less money, the thing about making indie films is somehow you have another kind of resource: a human resource, where you can really look to your creative colleagues and actually ask questions that are honest.
I think the crux of this urgent and real conversation about representation and diversity in art-making and storytelling both behind and in front of the camera ultimately has to do with simply seeing more human perspectives.
I feel like I don't see myself as all that different from other humans as a woman, but I'm surprised by how frequently I'm asked to see myself differently. So that's one kind of terror to have to face. Am I a unicorn? What's sticking out of my head that I'm not seeing? I'm simply female, and that puts me alongside all of my human counterparts.Collection: Female
I don't want to make studio films if I am constantly fighting to assert some kind of leadership within the process. I'm not hired to be a really nice person who comes up with solutions to problems now and then. I'm hired to be the director.Collection: Nice
I want people to leave the theater wrestling with the idea that our pain - physical, emotional, and spiritual pain - is more than just a condition that needs to be silenced, numbed, or "fixed."Collection: Spiritual
Pain in all its forms is also a message, a kind of distress signal to our hearts and minds. There are times when it's really important to tune into that message and just listen to it.Collection: Pain
Women still routinely get passed over when everyone sits around the table and says, "What's our list of 10, 20, 30 directors that we wanna put at the top of our list for this project?" You need more people who are either women who care about this issue or men who care about this issue, who are sitting in this room and saying, "Guys, where are the women? We need to be going out to women." And particularly in the projects that really could use a fresh feminine perspective, whatever that ultimately means.Collection: Mean