There has been a rather unpleasant sensibility apparent in Frank Miller's work for quite a long time.
Sentiment: NEGATIVE
It blows my mind the way Frank Miller can write.
Frank Miller is more of a visionary than any director I've ever worked with, and he achieves that vision better than anyone I've ever worked with.
Miller is not really a writer but a non-stop talker to whom someone has given a typewriter.
When I met Miller, for me it wasn't a question of wanting to meet him because it was Arthur Miller; it was a kind of astonishment that I could meet someone who was so deeply embedded in the psyche of my artistic development.
Sometimes I've been more emotionally disturbed by the experience of shooting a comedy than a drama. After 'We're the Millers', I think playing this battered loser who's confidence was at zero for 90 percent of the movie, I did genuinely feel that way.
The tantalizing discomfort of perplexity is what inspires otherwise ordinary men and women to extraordinary feats of ingenuity and creativity; nothing quite focuses the mind like dissonant details awaiting harmonious resolution.
If American literature has a few heroes, Miller is one of them. He refused to name names at the McCarthy hearings, and his play 'The Crucible' analysed the hearings in the context of a previous American mass psychosis, the Salem witch trials.
I think there have been some periods when the writing almost became a bit of a burden.
I was brought up in the great tradition of the late nineteenth century: that a writer never complains, never explains and never disdains.
When I think of Hungarian films, I think of despair and bleakness, and what's more, despair and bleakness of indefensible duration.