I think many of the ideas that opened up in the '60s got implemented in the '70s and that certain minority voices… — Todd Haynes Copy Share Image
My films have often looked at the whole dilemma of identity as a straitjacket for people, for societies, for cultures, for historical… — Todd Haynes Copy Share Image
I felt I would have the most creative freedom making experimental films and teaching, as I had many good examples of people… — Todd Haynes Copy Share Image
The term 'new queer cinema' and the films of mine that were associated with that term are from a very, very different… — Todd Haynes Copy Share Image
I do know my own films don't necessarily work within that high-pressure reductive moment of the opening weekend - or all the… — Todd Haynes Copy Share Image
I don't pay attention to the 'marginalizers.' They simply don't have any impact anymore, on where we're headed or what the law… — Todd Haynes Copy Share Image
Doing a love story as a genre, and looking at love stories in movies, and feeling like I learned stuff about that,… — Todd Haynes Copy Share Image
Making a movie about the love between two women was really a tribute to the lesbian people in my life, my dear… — Todd Haynes Copy Share Image
It's only when you look back sometimes and you look at some people in your life and you're like, Oh my god,… — Todd Haynes Copy Share Image
Making a film is so scary, and there's such a kind of void that you're working from initially. I mean, you can… — Todd Haynes Copy Share Image
People define gay cinema solely by content: if there are gay characters in it, it’s a gay film. . . . I… — Todd Haynes Copy Share Image
The first time I saw Douglas Sirk was in college. I didn't encounter him on the late, late, late show like a… — Todd Haynes Copy Share Image
There is no single approach that actors take to their craft. And the best thing you learn is that you have to… — Todd Haynes Copy Share Image
A key part of the process for me is having screenings: not official test screenings, just gatherings of people, some I know… — Todd Haynes Copy Share Image
We're the end of the baby boomers, and we participated in many social changes. Who would of thought, for example, when the… — Todd Haynes Copy Share Image
Love stories require an obstacle between the lovers, something that keeps them from one another. You have to yearn for the love… — Todd Haynes Copy Share Image
People define gay cinema solely by content: if there are gay characters in it, it’s a gay film... Heterosexuality to me is… — Todd Haynes Copy Share Image
At the time I made 'Safe,' I was really intrigued by the whole culture around AIDS, which was turning to people like… — Todd Haynes Copy Share Image
With 'Poison,' I'm sure some people just hated the movie, but it also got caught up into a debate about arts funding… — Todd Haynes Copy Share Image
It's like our go-to notion of innocent and secure mythology of American life. I was always amazed when people would come up… — 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
