People think I'm an artist because my films lose money.
If my films make one more person miserable, I'll feel I have done my job.
You make a film and always hope you're going make "Citizen Kane" or "The Bicycle Thief." You make the film, and for one reason or another, one clicks and one doesn't, but it's out of your control completely.
When you make the film, there's a big difference between when you're in your own home at the typewriter, and when you're standing on a mountain, or on a street corner, and buses are coming by-it's a different reality. You make a million changes that were never in the script, but that reality dictates.
My films are therapy for my debilitating depression. In institutions people weave baskets. I make films.
The film studios learned to our dismay but to their pleasure that if they spent $200 million making a film they could make half a billion on it. So they were not interested anymore in quality films... They can't afford to be that risky at those prices. Consequently you're getting a lot of remakes, sequels, dopey comedies full of toilet jokes...
I do the movies just for myself like an institutionalized person who basket-weaves. Busy fingers are happy fingers. I don't care about the films. I don't care if they're flushed down the toilet after I die.
American films, it's a money-making industry. And in France, you can find great respect for cinema as art.
If my films don't show a profit, I know I'm doing something right.
I write about what I want to write about, and so the film comes out as a very personal expression even if its subject matter is totally prefabricated.
When a film is reviled, you open a film and people say "Oh, it's the stupidest thing, it's the worst movie." You think: oh, nobody's going to ever speak to you again. But, it doesn't happen. Nobody cares. You know, they read it and they say "Oh, they hated your film." You care, at the time. But they don't. Nobody else cares.
The process of making films is so technically demanding that it's a distraction. You don't spend your time thinking about the philosophical content, which is often very depressing.
I like broad comedy. If I had an idea tomorrow for a film that was all slapstick and broad comedy, and it was an idea that interested me, I would not hesitate to do it because I enjoy watching these kinds of film.
I have a number of symptoms that are neurotic and are constricting in the sense that if I had a brilliant idea for a film that had to be shot in Tulsa, OK I would tear it up and throw it away. Anything outside of New York, 'cause I can't exist in a hotel outside of my own home, I have to be in my own home and my own environment. This is a neurotic symptom that is constricting to my work even.
I write the script; nobody sees it, not the people that put the money in the picture. I cast who I want, and make the film. That's why I've always felt the only thing standing between me and greatness, is me. There's no excuse for me not to be great except that I'm not.
We live in far too permissive a society. Never before has pornography been this rampant. And those films are so badly lit!
The content dictates the style all the time. That's the way it is. If the content of the film - as in Husbands and Wives - is highly jagged, neurotic, fast-paced, nervous New York film, it just called for that kind of shooting, editing and performance.
There's something about my films; they're informed by my sensibility. I have the same preoccupations, the same interests... there's just something in the nuance, and so you always know it's a film of mine whether I sign my name to it or not.
When you make the film, it's like a chef who works on the meal. After you're working all day in the kitchen and dicing and cutting and putting the sauces on, you don't want to eat it. That's how I always feel about the films. I work on it for a year. I've written it, I've worked with the actors, I've edited, put the music in. I just never want to see it again.
Sometimes the critics will like a film, and the public doesn't come. Sometimes the critics won't like the film, and the public will come. It's completely spontaneous. It's a hazard.
I'm a comedian. I make comic films and there are certain ideas that occur to me that are comic, with heavy, serious undertones. There are some ideas that are more frivolous to me. The next idea that could occur to me could be comedy about death and famine or something.
I can live in Paris for four months or London or, you know, Barcelona. These are places that are like New York. But I don't think I could live in many places. When I had to make a film in the United States I picked San Francisco because to me it's one of the great cities of America.
Music has always helped my films. In 'The Curse Of The Jade Scorpion,' you can hear 'Sunrise' by Glenn Miller, an idol of my childhood, in the surprise ending. I like mixing comedy with suspense and action.
Writing is great because in the writing you never have to... First of all you never have to leave your home. And you never have to meet the test of reality when you're writing.
I never wanted to or expected to make a film outside of New York. New York became very, very expensive. The same $18 million spent in Barcelona or Rome goes much further there.
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