A Quote by Michael Caton-Jones
I don't think there's any money to be made doing something that's that contemporary without having a spin on it. If there's a London riots film with zombies, that'd have more chance.
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I think I'm wealthy. I make a good living for what I do. Well, it depends. If I'm doing an independent film I'm making no money - probably losing money. But if I'm doing a studio film, I'll make a decent wage. I can live for a year without working.
I don't necessarily think that having more money helps make you make a better film. Sometimes having less money is better. You're forced into being more original; you're forced into hearing something versus seeing it.
If there's anything you want to do and you can't figure out why you're not doing it, there's a simple answer: you link more pain to doing it than not doing it. Hey, if you don't have enough money, for example I know that's an issue for a lot of people. It was for a good deal of my life. If you don't have money there's only one reason: you link more pain to having more money than to not having it.
I was a professional gambler. When I lived in London, there were a couple of years when I didn't really earn money doing anything else. I mean, I did other things: like, I made work, and I was working with Derek Jarman at the time, but the way I made money was putting money on horses.
I think it helps to get a film made because people who put money in are nervous. They like to have something recognisable enough to make them secure that there's a pattern there - that someone else put their money into something like this and made it back.
I got a chance to act in a film, 'Derailed.' I was having a recurring nightmare, and after doing that film, the nightmares stopped.
For me, each book is kind of like a silent film. If you were to remove the words and just look at the pictures, you should be able to tell what the story is about without having to read a word of text. That's what I think I brought from doing artwork for film to doing artwork for books.
On the set of an independent film you can tell that nobody is doing it for the money. Everyone is there because they love the script. A smaller budget sort of unifies everyone; it's a real team effort and that's amazing. But these opportunities just don't present themselves that often for me, so basically any chance I get to do something different I jump on it.
I think zombies would fit in anywhere. You can tell any story, and put zombies in it. I don't know how I'd find the backing, but I think it'd be great to make a zombie gangster movie.
I think one of the London Film Festival strengths is that it's set in London but it's not about London. It's about the diversity of this city and it's about world cinema. And that's what London is - London is a place where its identity is always in a state of flux. So, this festival celebrates the way in which it is always changing. That's why London is a fascinating place and that's why the film festival is a fascinating film festival.
I don't think it's the fans, I think it's the fact that they get paid a lot of money for a picture of you doing something wrong. They don't seem to be interested in anything good any more.I think people appreciate what you do.
I think there's something about having a purpose in life and a sense of belonging that is more important than money for any human being.
The amazing fact that one person can make his own film - I think animation is somewhat unique in that respect. I don't need to deal with lawyers. I don't need to deal with corporations. I don't need to deal with executives or agents or any of that. I can just sit at home and make a feature film. That's a wonderful experience. Each film I make gets more popular, more press and makes more money. So it's amazing that I've survived and actually prospered doing that sort of homegrown, cottage-industry filmmaking.
I feel I am blessed. So many actresses went without doing a period film in their career, and I got a chance to do one in my first film.
I made 'Siam Sunset.' In Australia, it was pretty much universally hated, but I did notice that almost any American who saw it loved that film, so in 2001 I made a film in America called 'Swimfan,' and they released like a big studio movie, and it made money.
I think the world's big enough for all kinds of zombies. You can have yours and I can have mine. I think by going with slow zombies I maybe have been asserting my own kind of zombie snobbery, but I don't begrudge the youngsters their tackling, running, jumping zombies.
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