"I do like to work with young directors because it's such a difficult business that I think after directors have been around a while sometimes, not always, but sometimes their passion gets siphoned off because they get hurt"
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Burstyn isn’t romanticizing youth so much as diagnosing an occupational injury. Film sets run on power, budgets, hierarchies, and the steady drip of compromise; “passion” is treated like a renewable resource until it isn’t. Her admiration for young directors is less about novelty than about unscarred nerve endings: people still willing to risk looking earnest, still naive enough to believe the movie in their head can survive contact with financiers, schedules, and notes.
The line’s quiet sting is in “siphoned off.” Passion doesn’t merely fade; it’s extracted. That verb frames the industry as a machine that profits from enthusiasm while gradually draining the person who provides it. And when Burstyn adds “because they get hurt,” she pivots from professional critique to emotional reality. The wound isn’t just a bad review. It’s a series of small betrayals: a project rewritten by committee, a career slowed by politics, the humiliation of watching safer choices get rewarded. Experience, in her telling, doesn’t automatically mature into mastery; it can calcify into self-protection.
The parenthetical “not always” is doing diplomatic work, but it also signals she’s seen both outcomes. As an actress who has navigated decades of shifting taste and industry economics, Burstyn is speaking from the actor’s front-row seat to directorial psychology: she can feel when a director is making decisions from curiosity versus fear. Her preference becomes a wager on vulnerability. Young directors still have something to lose, which means they still have something to give.
The line’s quiet sting is in “siphoned off.” Passion doesn’t merely fade; it’s extracted. That verb frames the industry as a machine that profits from enthusiasm while gradually draining the person who provides it. And when Burstyn adds “because they get hurt,” she pivots from professional critique to emotional reality. The wound isn’t just a bad review. It’s a series of small betrayals: a project rewritten by committee, a career slowed by politics, the humiliation of watching safer choices get rewarded. Experience, in her telling, doesn’t automatically mature into mastery; it can calcify into self-protection.
The parenthetical “not always” is doing diplomatic work, but it also signals she’s seen both outcomes. As an actress who has navigated decades of shifting taste and industry economics, Burstyn is speaking from the actor’s front-row seat to directorial psychology: she can feel when a director is making decisions from curiosity versus fear. Her preference becomes a wager on vulnerability. Young directors still have something to lose, which means they still have something to give.
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| Topic | Movie |
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