I should like to make films that are not lowering to the spirit. A new building can be very harrowing, I should like to give people a chance to whistle.
You live for those really great scenes where you almost feel that the film has gone beyond what was printed on the script pages and been raised to another level.
Photography has definitely been my favorite way to remember things. At least for me that’s how my brain processes things, of memories or moments - if I take a picture of it I can remember so many more details. I think it’s about choosing the exact picture in my head that signifies or symbolizes a moment - almost as if you’re using film. It’s almost archaic.
Except here it's more power, more energy, younger and also in Europe it's still not only entertainment. Theater or films are looked at as a moral institution. That's why maybe they're so poetic. Here it's clear entertainment.
Approach every film with the same enthusiasm, regardless of its budget.
A good part of why I never went back to England was part of that, I didn't want to be in those sort of flowery films. But I think it's a nice change of pace-I don't know how long it'll go for. There will always be the Merchant-Ivory/Kenneth Branagh movies, but there's something else now-really, it's always been there but the Americans getting to see it makes all the difference.
My mother did movies from the New Wave, but I was quite shocked I didn't know much about that period. Bernado showed us film of the demonstrations of the time.
A very receptive state of mind... not unlike a sheet of film itself - seemingly inert, yet so sensitive that a fraction of a second's exposure conceives a life in it.
The difference being that in films, unlike in life, good does always win over evil in the end.
Whereas European films have traditionally been able to go into adult relationships. I think there's a huge audience in America for those kinds of films.
I like to keep my budgets at a certain price when I work for someone else, and even more so now that I'm working for myself, and use new technologies to deliver films that look like they have high production levels.
I've done almost 20 films and I still worry about not finding the next one.
Right now I just finished writing the music for a Rugrats feature film and the third week of September I go to London, and the Orchestra is going to perform the score.
I said I would do all the films about the commercials, and the films about ball-bearings and Ford tractors and so on, if once a year they gave me money for a free film.
If you look at the game and everything, it's not quite like looking at an animated film, because that's total character. This, this is really movement, but it's got funny little things if you look for the humor. They're actually getting to the character.
When you look at Darling and the Oscars, it has to be luck. It was a black and white film and it was the last time that there was a black and white Oscar.
It perhaps has a chance, a commercial chance, this film. It's funny, it's charming, the idea is original, it's unusual and it makes fun of the movie industry in a way that it needs to be poked fun at.
When I go to where I was getting excellent parts in movies I may have taken a few too soon, too anxious to go back to work and to anxious to make another film and to succeed more.
In film, you can't go into analytical explorations because the audience will reject that.
So I am getting a little bored with defining one type of film as American and the other European or from somewhere else because the division is no longer true.
I think the situation in Toronto is such that there are funding organizations which make it easy for a film to raise more money than it needs and very often that works against a film.
As a performer, you can't just sit around waiting for the phone to ring. You have to write and develop projects for yourself, because casting people aren't always going to see you the way you want to be seen. Write a one-person show, shoot a short film, do plays, whatever - activity breeds activity. No one's interested in a stay-at-home actress.
In contrast, the 'Old Europe' channels were showing film from reporters who had embedded themselves at the wrong end of the Baghdad blitz and the Basra bombardment. These films depicted the shattered homes, the killed and grieving civilians and the infrastructure chaos our armed forces are creating daily. Since this footage (none of it bearing the al-Jazeera logo) clearly exists, why does the Western media studiously ignore it or, when confronted by it, claim it to be Iraqi propaganda.
Because Chicago was to radio what Hollywood was to films and Broadway was to the theatre: it was the hub of radio.
So, thanks God, our films, our first films were suddenly being appreciated by the Western media; especially France was very good, and Switzerland was very good.
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