"Well, the wonderful thing about making movies, oddly enough, is that they're sort of highly motivated graduate studies in one or another field"
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Pollack frames filmmaking as an education you can’t fake, then slips the knife in with “oddly enough.” The line is modest on its face, but it carries a director’s sly rebuke to the idea that movies are merely glamour, ego, or technical hustle. If you do the job seriously, he implies, a film drags you into a subject with the intensity and deadlines of a graduate program - except the dissertation is public, expensive, and judged in real time.
“Highly motivated” does a lot of work. It’s not curiosity for curiosity’s sake; it’s learning under pressure, with money and reputations at stake. A Pollack production doesn’t just “research” horses, politics, law firms, ballet, or espionage - it has to metabolize those worlds fast enough to convince an audience that can smell fakery. That’s the subtext: craft is inseparable from epistemology. You’re not simply staging scenes; you’re negotiating with reality, translating specialized knowledge into images, behavior, and tone.
The phrase “in one or another field” nods to Pollack’s range and to Hollywood’s quiet dependence on expertise it rarely credits. Films cannibalize disciplines - journalism, medicine, intelligence, law - and turn them into narrative. Pollack’s intent is both pragmatic and a little romantic: the director as lifelong student, paid to obsess. In an era when “research” is often marketing trivia, he argues for something tougher: immersion as a professional obligation, and cinema as a machine that forces you to learn what you thought you already understood.
“Highly motivated” does a lot of work. It’s not curiosity for curiosity’s sake; it’s learning under pressure, with money and reputations at stake. A Pollack production doesn’t just “research” horses, politics, law firms, ballet, or espionage - it has to metabolize those worlds fast enough to convince an audience that can smell fakery. That’s the subtext: craft is inseparable from epistemology. You’re not simply staging scenes; you’re negotiating with reality, translating specialized knowledge into images, behavior, and tone.
The phrase “in one or another field” nods to Pollack’s range and to Hollywood’s quiet dependence on expertise it rarely credits. Films cannibalize disciplines - journalism, medicine, intelligence, law - and turn them into narrative. Pollack’s intent is both pragmatic and a little romantic: the director as lifelong student, paid to obsess. In an era when “research” is often marketing trivia, he argues for something tougher: immersion as a professional obligation, and cinema as a machine that forces you to learn what you thought you already understood.
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| Topic | Movie |
|---|---|
| Source | Help us find the source |
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