Miranda July
Miranda July
Miranda Jennifer Julyis an American film director, screenwriter, actor, author and artist. Her body of work includes film, fiction, monologue, digital media presentations, and live performance art. She wrote, directed and starred in the films Me and You and Everyone We Knowand The Future. Her most recent book, debut novel The First Bad Man, was published in January 2015. July was a recipient of a Creative Capital Emerging Fields Award...
NationalityAmerican
ProfessionDirector
Date of Birth15 February 1974
CityBarre, VT
CountryUnited States of America
childhood kids limited vocabulary worst
The worst thing to me is the limited vocabulary of childhood sexuality. Parents, more than anyone, know their kids are sexual.
endless sympathy
I have endless sympathy for (them) because I see myself so much in them.
almost inherently interact points reality worlds
There are going to be points of contact. That's just a fact. That it's not inherently bad. In reality, the way that the two worlds interact are often very, very subtle, almost inarticulatable.
blame both conversation exciting good leave sad scary shame talk vocabulary
I wanted to talk about that and show that without having to just have a vocabulary of blame or shame -- to say that it can be both really scary and OK, ... It can also be sad and exciting and even kind of fulfilling. It's really not a good conversation to leave to ped-ophiles. It's much better to actually talk about it without pathology.
coming emotional kids last loving physical
As a filmmaker, the last thing you want to do is place kids in emotional or physical jeopardy, ... Especially for me, coming from a place of really loving those kids.
care conversation definitely fill side sort spaces taking talk
I have this audiotape that I made when I was like 6 or 7 that's just one side of a conversation with spaces for me to fill in the rest, ... So, I could play it back and talk to myself. Don't know if that's art, but it was definitely a sort of way of taking care of myself.
writing house comforting
My ideal life is just lounging around the house and every once in a while I'll kind of write something, and then I'll leave and eat something and masturbate or whatever - just this very fluid life of comforting myself.
real clothes creating
You've got the people you know, which are problematic. Always. They're rich but they're also real people living their lives alongside you. Then you've got the people that you make-up completely, who are often missing a dimension if they don't have some reference to real people. So strangers exist in this in-between space, where in not knowing them, you are creating a fiction for them, even in passing, but at the same time, there they are, with their actual bodies and their actual clothes. It's totally enticing.
world kind virtue
I'm interested in what the virtues of all those things are, especially for the kind of person who's made their own world that revolves around them, like writers do. It seems especially precious.
mean home quality
I mean obviously we're all dealing with a lot more strangers due to the web. I'd say it has more to do with the quality of interactions. When you're physically interacting with someone, it forces you to be more present and probably a little more uncomfortable. You have to tolerate being outside the comfort of your own home.
mean people house
When you're not doing fiction, there's a limit to how much illustrating you can do with your work. I mean, you can do fine. There are great non-fiction writers, but people aren't necessarily going to say anything that reveals them as much as a picture might. Even their surroundings, in lot of cases, the things that meant the most to me were the things I noticed in their houses. I was always looking, as much as I was listening to them. I was looking around for clues as to why I was there.
character thinking cities
Most great filmmakers are good at place. Like how people say, like, "The city itself is a character in the movie," you know? I'm so interior. I always forget there's such a thing as an exterior wide shot, where you can see where someone is. As opposed to just: how can we show what this person is thinking, in an abstract way that is felt?
thinking fiction way
I don't think I'm more of a screenwriter than I am a fiction writer. I'm more of a reader than a film-watcher, so I imagine that I'm not approaching fiction or films in a particularly cinematic way.
book writing always-trying
I like embracing kind of normal forms but am always trying to approach them as if no one's ever done that before. As if I'm literally the first person to ever write a book.