I'm always interested in what classic crime writers got into when they stepped away from the genre stuff they were known for. That's why 'Mildred Pierce' is like noir without any real crime. — Todd Haynes Copy Share Image
I don't know if I ever entertained an academic career, nor did I ever think I'd become a feature film-maker in the market. — Todd Haynes Copy Share
Feminist theory has left an indelible mark on my own critical—and creative—thinking . . . For me, everything I questioned about what it meant… — Todd Haynes Copy Share
I'm used to always having struggles getting finances together and keeping precarious budgets alive in the independent film world. — Todd Haynes Copy Share
It's funny: I don't feel like I have any particular privileged feeling for the Fifties. — Todd Haynes Copy Share
Looking at photographs of New York in 1952, you find a powerfully pre-Eisenhower era - sagging, tired, distressed - and the palette is slightly dissonant. — Todd Haynes Copy Share
I think many of the ideas that opened up in the '60s got implemented in the '70s and that certain minority voices that were… — Todd Haynes Copy Share
Films like 'The Godfather,' 'Chinatown' and 'The Exorcist' brought a realism and currency and understatement to their genres that we wanted for 'Mildred Pierce.' — Todd Haynes Copy Share
There were interesting ways that queerness could hide out and get played out pre-Stonewall. It is part of a vast history that is getting… — Todd Haynes Copy Share
It's very funny because every time I make a movie, and I've heard this re-echoed by other filmmakers and actors I have worked with,… — Todd Haynes Copy Share
What was so interesting about the glam era was that it was about bisexuality and breaking down the boundaries between gays and straights, breaking… — Todd Haynes Copy Share
My films have often looked at the whole dilemma of identity as a straitjacket for people, for societies, for cultures, for historical moments. — Todd Haynes Copy Share
