A Quote by Alejandro Gonzalez Inarritu

When you do a film in a foreign language, you know there's a cost in it, that you know, unfortunately, the audiences of foreign language films have not been cultivated. There's a market, but the market has been reduced, unfortunately, and you know that when you're making a foreign language film, you're making a choice.
In the United States there's not a lot of people interested in foreign language films. Every time, it's more difficult for foreign language films to survive here.
'Minari' was only eligible for the best foreign language film category due to the HFPA rules on language, so the film was submitted to meet these rules; there was no choice involved in the matter.
Any time there is a film in a 'foreign language,' in Spanish or Korean or whatever language, it's usually not an American film. It's usually from another country.
The language of the land in the Parthian empire was the native language of Iran. There is no trace pointing to any foreign language having ever been in public use under the Arsacids.
'Arrival' talks very little about language and how to precisely dissect a foreign language. It's more a film on intuition and communication by intuition, the language of intuition.
They're on their way to the foreign-language wing. That's no surprise. The foreign kids are always here, like they need to breathe air scented with their native language a couple times a day or they'll choke to death on too much American.
The language skill in the U.S. for the most part has been awful. Many Americans don't learn any foreign language.
I know American football. I know a little bit about soccer. I know baseball, I know basketball. But, rugby is a foreign language.
While 'Babel' is a foreign-language film in some countries, in others, it is a local film.
When you work as a day player on a film or a TV thing, like you're visiting a foreign country, where you know a couple of words of the language and a few of the cultural abnormalities, but basically you're a stranger in a strange land.
His scowl returned. "Why, if they're supposed to be Greek, are all of them speaking with an English accent?" She laughed. "Didn't you know that British is, like, the universal 'foreign' language in Hollywood? They use it in any movie where they want to have a foreign feel to it, regardless of where it's set
Visual art is a foreign language I'm fluent at, but my native language is language.
I think most Israelis prefer not to know. So for them, texts about the occupation are like something that's been written in a foreign language that they can't understand. If they want, you can translate it to them. But it is their choice. In general, though, I think Israelis don't want to know. Very few do. Basically, I write to the converted.
Everyone is used to speaking a slightly different "language" with their parents than with their peers, because spoken language changes every generation - like they say, the past is a foreign country - but I think this is intensified for children whose parents also grew up in a geographically foreign country.
If you're a film studio, you're making a movie for a foreign market. You're pursuing ideas that travel well. It changes the movies we see and how movies are made.
A lot of linguists in the market, especially interpreters of foreign languages, do not have a great command over the English language, especially if they are translating into English.
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