A Quote by Steven Zaillian
People who would go to an arthouse cinema and watch a Swedish movie and read subtitles... it's a small percentage.
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If you watch a Chinese movie with subtitles, it's just like watching an Arabic movie with Chinese subtitles. That explains why you can't take Chinese language movies and expect them to go abroad.
A lot of people don't watch cinema. They can't afford movie tickets, they can't go to theatres to watch cinema, they are not on social media. How do you reach out to those people as an artist?
The Swedish he knew was mostly from Bergman films. He had learned it as a college student, matching the subtitles to the sounds. In Swedish, he could only converse on the darkest of subjects.
It's interesting because Swedes subtitle everything, so they're so used to it. When my wife watches a show with subtitles, she has a skill to be able to watch and read. Whereas I'm more of a read or watch.
There's a small percentage of people who can act. There's a small percentage who get to do this for a living. There's a swath of the population that are able to keep a story in their head and fight all the battles against self-consciousness and the surreal unnaturalness of acting in a movie. The technical aspects you can learn fairly quickly.
The select group of people who do make realistic cinema, who do make cinema perhaps a little more acceptable to the Western audience, is a very small percentage.
I'm the minority in my house sometimes. My wife is Swedish, and we go to Sweden and everyone is rattling off in Swedish. It's like, 'OK, I can just read a book.'
I grew up in England, and at the time, cinema was very heavy arthouse cinema, and there was no one making movies that were designed to be in multiplexes.
Whatever your parents do, you get conditioned to that. I remember my dad would put gramophone record, and would sit and read a book. And then once a week, we would go and watch a movie.
The most important thing in all human relationships is conversation, but people don’t talk anymore, they don’t sit down to talk and listen. They go to the theater, the cinema, watch television, listen to the radio, read books, but they almost never talk. If we want to change the world, we have to go back to a time when warriors would gather around a fire and tell stories.
From the age of 1 to 6 there is a small percentage that is exclusively homosexual, a small percentage heterosexual and there's a wide band in the middle of people who respond to various stimuli. A little bit here, a little more there.
The scene of independent cinema is already a large scene in America, and not in a negative way, but it's cluttered. It's very populated with just American films, so the room left for foreign movies is not extremely vast. The American public also does not really read. They don't read subtitles. But we're like that in Canada, too.
I have three kids. Now they're all grown up, but when they were little, every time I would start a new project, they would say, 'So dad, are you making a movie we can watch or one we cannot watch?' That's the kind of stuff they would ask. People around me - family and friends - usually know when to watch and when not to watch.
For people to understand, you can't speak 'cinema.' Cinema doesn't have alphabets, so you have to go to the local language. Even in England, if they make a movie in London they have to make it in the Cockney accent, they can't make a film with the English spoken in the BBC. So cinema has to be realistic to the area that it is set in.
I don't even watch many huge films. I don't go to the cinema every weekend. I watch selective cinema and want to make my kind of films.
When you go watch "The Lord Of The Rings," you don't just buy a bag of popcorn, and go sit in the movie theater to watch where covetous people in our hearts deceive us, and then walk out the theater. That's the message that may be in that movie.
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