Patricia Rozema Zitate

Patricia Rozema ist eine kanadische Regisseurin und Drehbuchautorin.

Nach einem Abschluss als Bachelor of Arts in Philosophy and English Literature des Calvin College in Grand Rapids, Michigan arbeitete die Tochter holländischer Eltern als Assistentin verschiedener Regisseure und wurde in ihrer Heimat immer öfter auch als Drehbuchautorin aktiv. Ihr gefeiertes Lesbendrama Wenn die Nacht beginnt war 1995 für den Goldenen Bären der Berliner Filmfestspiele nominiert, für die Episode „6 Gesten“ der Serie Yo-Yo Ma, Inspired by Bach erhielt sie einen Emmy. Wikipedia  

✵ 20. August 1958
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Patricia Rozema: Zitate auf Englisch

“You cannot underestimate what a radical thing it is to change from one art form to another.”

As quoted in "Mansfield Park and Film : An Interview with Patricia Rozema" by Hiba Moussa, in Literature/Film Quarterly 32, No. 4 (2004), p. 255
Kontext: You cannot underestimate what a radical thing it is to change from one art form to another. An author slaves to start with just the right word, phrase, sentence, and paragraph. The sounds of the words are crucial. But all the demands of words and prose are lifted when you make a movie. The physical presence makes many unnecessary and some necessary ones impossible. So you serve two masters as an adapting filmmaker: the author's intention and the needs of film. Sometimes "fidelity" can mean only focusing on one day of a story told over twenty years in a book.

“I believe in tension and release, in that if you stay in the the same tone and mode and intensity for too long, it actually becomes monotonous.”

In "Audio Commentary with Writer/Director Patricia Rozema" on Mansfield Park DVD (2000)
Kontext: I believe in tension and release, in that if you stay in the the same tone and mode and intensity for too long, it actually becomes monotonous. When you change up your pace or your humour level, then the release is welcome. … I believe that's my biggest job: tone control, and maintaining enough unity so that it all feels like one movie and all the scenes belong together, and yet diversity so that emotional and narrative interest is maintained.

“Sometimes "fidelity" can mean only focusing on one day of a story told over twenty years in a book.”

As quoted in "Mansfield Park and Film : An Interview with Patricia Rozema" by Hiba Moussa, in Literature/Film Quarterly 32, No. 4 (2004), p. 255
Kontext: You cannot underestimate what a radical thing it is to change from one art form to another. An author slaves to start with just the right word, phrase, sentence, and paragraph. The sounds of the words are crucial. But all the demands of words and prose are lifted when you make a movie. The physical presence makes many unnecessary and some necessary ones impossible. So you serve two masters as an adapting filmmaker: the author's intention and the needs of film. Sometimes "fidelity" can mean only focusing on one day of a story told over twenty years in a book.

“When I look back upon the choices I made in making Mansfield Park, I feel they were pretty ballsy. I just thought there has to be a reason why I was doing a period piece. I wanted to say, "Look, we are rich because of slavery. We stole people and made them into slaves. Nothing comes for free."”

I didn't want to do another English dance party.
As quoted in "Patricia Rozema : The Mermaid's Song" interview with Patricia Rozema, in The View from Here : Conversations with Gay and Lesbian Filmmakers (2007) by Matthew Hays, p. 289

“I wanted [Martin] to be a really decent human being because I didn't want to depict the cliché that a woman becomes a lesbian because her husband is terrible to her.”

On Martin, the husband of Camille Baker, in When Night Is Falling as quoted in "Patricia Rozema : The Mermaid's Song" interview with Patricia Rozema, in The View from Here : Conversations with Gay and Lesbian Filmmakers (2007) by Matthew Hays, p. 287

“Isn't life the strangest thing you've ever seen?”

Lines written for "Polly Vandersma", in I've Heard the Mermaids Singing (1987)

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