Jason Reitman
Jason Reitman
Jason Reitman is a Canadian-American film director, screenwriter, and producer, best known for directing the films Thank You for Smoking, Juno, Up in the Air, and Young Adult. As of February 2, 2010, he has received one Grammy award and four Academy Award nominations, two of which are for Best Director. Reitman is a dual citizen of Canada and the United States. He is the son of director Ivan Reitman...
NationalityCanadian
ProfessionDirector
Date of Birth19 October 1977
CityMontreal, Canada
CountryCanada
audience notice people seem sitting turned worked
We were sitting there in shock. And I turned to other people who had worked on the film, and we were completely confused. But the audience didn't seem to notice or care.
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Growing up sucks, doesn't it? I understand why people wouldn't want to get old - but it'd be one thing if we became a culture obsessed with eating right, doing yoga, going to therapy and becoming at one with ourselves. That be great. But we don't do that. We seem to be obsessed with all the wrong ways to stay young.
book exactly issues people tobacco works
For some reason, tobacco really makes people mad. It's not like other issues of vice. I don't know exactly why, but I can feel it, and I think that's why the book works so well.
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Politically correctness is just a polite way of saying lying, and they're tired of turning on the TV and seeing people who are so terrified of their arguments being invalidated by a simple word choice that they don't say anything.
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There certainly is no secret in that there are plenty of people who don't like plenty of my movies. Each one of my films is personal; each one of my films is emotionally autobiographical. And I like directors who do that. With each one of my films, I'm exploring one of my own issues and I try to expose myself a little in the film.
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There were a couple of thousand people who saw the film at Sundance without the Katie Holmes sex scene. I implore all of them to now go back and see the movie with the Katie Holmes sex scene.
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I hear the way people talk about the children of famous people. They're not treated very well. The presumptions are usually quite awful. So I tried to establish myself with a couple of movies. After 'Juno' I thought: 'I think I've defined myself enough as my own director that I'd love to work with my father.'
character voice people
When you're young, you want to make every kind of film: musicals, Westerns, horror. Slowly you begin to hear your own voice. I hope people receive what I do as small, personal films that are somewhat contrarian about their main characters.
school past people
Most people are nostalgic in a way that they're fond of the past, but they still are happy that they are where they are now. You know, when you say, 'Oh, high school was this or that,' you don't want to go back. No matter how much you loved high school, you don't want to actually be back in high school. I certainly wouldn't.
moving blue people
And as a director, you make 1,000 decisions a day, mostly binary decisions: yes or no, this one or that one, the red one or the blue one, faster or slower. And it's the culmination of those decisions that define the tone of the film and whether or not it moves people.
character people kind
Humanizing good people is kind of boring and I don't really see the value in it... humanizing tricky characters is exhilarating, and making audience films out of indie subjects excites me.
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Discover how little you know . . . about the people you know.
nice people kind
I find nice people kind of boring.
technology thinking people
I'm equally guilty of using technology - I Twitter, I text people, I chat. But I think there's something strangely insidious about it that it makes us think we're closer when in fact we're not seeing each other, we're not connecting.