I didn't quite realise until we started to put together our first cut of 'Wonderstruck' how much time is spent with no… — Todd Haynes Copy Share Image
I find movies rely upon dialogue too much sometimes, and you lose the power of what really the most basic cinematic language… — Todd Haynes Copy Share Image
You gain all of the rights and privileges and respects that are afforded the majority, and that's ultimately what matters for your… — Todd Haynes Copy Share Image
I came to this project and 'Far from Heaven' from completely different vantage points. 'Heaven' was of course about the Douglas Sirk… — 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 Image
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 Image
I'm used to always having struggles getting finances together and keeping precarious budgets alive in the independent film world. — Todd Haynes Copy Share Image
It's funny: I don't feel like I have any particular privileged feeling for the Fifties. — Todd Haynes Copy Share Image
I'm drawn to female characters; not all of them are strong characters. — Todd Haynes Copy Share Image
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 Image
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 Image
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 Image
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 Image
