"There's almost a fear that if you understood too deeply the way you arrived at choices, you could become self-conscious. In any case, many ideas which are full of personal meaning seem rather banal when you put words to them"
About this Quote
Weir is diagnosing the director's central superstition: that too much self-knowledge can poison the well. The line is less anti-intellectual than anti-paralysis. Creativity, in his telling, runs on a kind of useful amnesia. If you interrogate the chain of instincts that led you to a cut, a performance note, a framing choice, you risk turning an animal sense into a committee meeting inside your own skull. "Self-conscious" here isn't just awkwardness; it's the camera suddenly pointed back at the maker, making every decision feel performed, justified, defensible.
The second sentence lands with a sting that anyone who's tried to articulate a private obsession recognizes. What feels charged in the body - a memory, a fear, a hunch about human behavior - can sound embarrassingly ordinary once translated into language. Weir is pointing at the mismatch between lived experience and the blunt instrument of explanation. Put another way: the deepest motives are often pre-verbal, and when you force them into neat sentences you flatten them into something that resembles a motivational poster.
Context matters: Weir's filmography (Picnic at Hanging Rock, Dead Poets Society, The Truman Show, Master and Commander) is built on atmosphere, withheld information, and moral unease. He trusts implication over thesis. The quote reads like a defense of that aesthetic, but it's also a quiet warning about the contemporary demand that artists provide a clean "why" for everything. Some choices have to stay partly opaque to stay alive.
The second sentence lands with a sting that anyone who's tried to articulate a private obsession recognizes. What feels charged in the body - a memory, a fear, a hunch about human behavior - can sound embarrassingly ordinary once translated into language. Weir is pointing at the mismatch between lived experience and the blunt instrument of explanation. Put another way: the deepest motives are often pre-verbal, and when you force them into neat sentences you flatten them into something that resembles a motivational poster.
Context matters: Weir's filmography (Picnic at Hanging Rock, Dead Poets Society, The Truman Show, Master and Commander) is built on atmosphere, withheld information, and moral unease. He trusts implication over thesis. The quote reads like a defense of that aesthetic, but it's also a quiet warning about the contemporary demand that artists provide a clean "why" for everything. Some choices have to stay partly opaque to stay alive.
Quote Details
| Topic | Deep |
|---|---|
| Source | Help us find the source |
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