Lynn Shelton Quotes

I like being able to just turn the microscope on a small number of people, get to know them, drop into their lives for a period of time.

Before adolescence I had an incredible voice. Like when I was 12, 13, 14 - I was taking acting classes, I was painting, I was making music, I was taking photographs. I was kind of exploding creatively, and then something about adolescence really just ground that out of me.

I can connect with whoever I want to connect with in the world. And I can also write my own script. I don't have to follow rules. I can sort of just be unconventional.

I had a background in theater as an actor, and then a photographer, and then as an experimental filmmaker and editor.

For me, I want to see diversity in storytelling sources because we live in a very diverse society, and the stories are for the whole society. That's really important. For me, as a female filmmaker, when I was out on the festival circuit on 2006, I felt like such a freaking anomaly - an oddity.

I hope to keep working with television. I wouldn't mind doing more.

So many people have said this, but it's true: 95 percent of what I do as a director is casting and getting people who can bear the load of what you're asking them to do and creating this emotionally safe environment.

I feel like this is the way I was meant to interact with acting. Which is as a director, and helping, working with actors to find their way. Facilitating their performances is so satisfying for me.

Flaws make us all human, and you're rooting for characters because of those flaws. It's ageless if you're interested in relationships and the way people can or can't relate to each other.

If I don't have to think about the commercial aspect of it, then I feel like I'm going to make better films.

I just really feel so grateful to Sundance because I've always been an artist and I've never been able to make a living at being an artist until Sundance.

I'd always wanted to work in television once I found out that they started to hire independent filmmakers to direct.

I always wanted the actors to feel really free to leave the words behind if they weren't working, reword lines, if they felt like there was impulse they wanted to follow, if it was taking the scene out of order or adding something, that you should always feel free to do that.

I'd love for there to be a situation - a world in which that's just not even a question anymore. We are all filmmakers - different stripes, genders, sexual orientations, colors - and our work can be taken on its own terms. I'm really looking forward to that day.

In the collaborative process, you create a real intimacy; everybody ends up sharing personal stories and personal observations and their philosophies, their psychological side. By the time you get to set, it just creates such a sense of trust and intimacy between the director and the actors. It's really, really great.

It's just not enough time on set. That's my favorite time. I live for that time on set. I feel like that's when I'm stretching and flexing my muscles and learning how to direct better.

I'm not one of those directors who can just kind of walk away from the edit room and come back and check in.

There's so much great TV and I always thought it would be such a fun little sideway to make money and then not have to worry about my films making a lot of money.

I'm drawn again and again to relationships between people who really, really want to connect and just can't get out of their own way to do it.

I can't wait to do a fully improvised script again, to find people who are really comfortable and into it. It's about the capabilities of the people you're working with, what are their strengths and weaknesses. Some of the most brilliant actors need the spine of the text to work off of, and there's no shame in that; they're actors, not writers.

The first time I ever intersected with the quote unquote industry or Hollywood or being given a paid job as a director all came because of the reputation I got coming out of Sundance as a veteran Sundance filmmaker.

My mom was in education, and I remember reading in one of her books about multiple intelligences - this whole theory about how there are all these different ways you can be intelligent, like eight or 10 of them or something. And one of them is emotional.

All we really want in life is to connect to other human beings, and when you desperately want to connect physically to one specific human being and you can't? That's something I find compelling.

Hmm, can I be obvious and say there is probably a double standard for male vs. female directors? Sadly, I think that's actually the case. And it probably stems from the fact that there are proportionately so many fewer women directors than men ones that each project is perhaps more closely scrutinized for its content.

We're all flawed, and we all make mistakes, and we all have weaknesses. And those are the kind of people I want to see onscreen, the ones that feel like real flesh-and-blood human beings and not the weird, whitewashed, Hollywood stand-ins for people with the rough edges sanded off that I can't connect to because they just don't resonate with me.

Making art, being creative, is risky, especially for actors, but everybody on the set is being creative. You're putting yourself out there with ideas, and to have your brain be free of stress so that it can actually do its best work, it feels like you want to have a real sense of intimacy and connection and trust with everybody.

Although humor is present in every one of my films, it has always been used as a way to make the darker, heavier stuff in my stories more palatable. I never set out to make 'Humpday' a comedy.

I try to build relationships with the actors, at least to some degree beforehand, whether it's phone calls because I'm from Seattle or all of us meeting in person at some point, which is ideal if at all possible before we get on set together.

It feels to me like everyone is going to do their best work when they feel emotionally safe.