A Quote by Alessandro Nivola

I've often gone to start a film only to find the producers surprised to discover that I'm American. — © Alessandro Nivola
I've often gone to start a film only to find the producers surprised to discover that I'm American.
People often presume I'm from whatever country they're from. So Americans presume I'm American and the British presume I'm British. And they're surprised to discover I actually am Australian. And actually some Australians are surprised too.
The foreign audiences are somewhat surprised and happy to find an American film that asks questions about American culture. There's a certain kind of cultural imperialism that we practice. Our films penetrate every market in the world. I have seen and have had people reflect to me, maybe not in so many words or specifically, but I get the subtext of it - they're somewhat charmed and surprised and happy to see an American film reflect on our culture. Because they see other cultures reflect on our culture but they don't see US culture reflecting on itself in quite the same way.
I am not saying 'Dum' flopped only because of piracy. But the money which went to the offenders could have gone to the producers of the film.
Often, American audiences are underestimated by producers and movie studios. They often think we're dumber than we are.
One of the questions I often get asked is, "Were you surprised that Trump won?" I always answer the same way: "I was surprised, I am surprised and I will never stop being surprised."
In film, I was surprised when I first saw the movie 'Drive.' I said, 'Oh, God. It sounds great - I love it. Wow, this could be the soundtrack from 'American Gigolo' or 'Cat People.' But I'm surprised that the director would agree with a composer to write that kind of sound.
In film, I find it very useful always to do some preparation before you start rehearsals or start shooting, because there's so much that's against you on a film set.
I didn't watch a film after the 1960s. I have no idea who all were the good heroes, directors or producers in the '80s. The only film I watched after all those years was my own film.
On many American campuses the only qualification for admission was the ability actually to find the campus and then discover a parking space.
Stupidly, in our industry, producers pay precious money to sign stars whom they might not even use in the film. Producers believe stars make hits; actually it is the script that makes a film successful.
If there are no stars in your film, nobody will look at you. If you have Sunny Leone in the film you will get hundreds of dollars but if you have a honest story to tell it's difficult to find producers.
I've made the film 'The Good, the Bad, the Weird,' which was an Eastern Western film. Obviously, the Western film is American and American only; there's really no Western genre over in Asia.
The only thing that surprised me about 'Lincoln' is that most of the critics who reviewed the film seem not to have grasped what should have been apparent right from the start, which is that 'Lincoln' is at bottom a play with pictures, not a screenplay.
When American producers see my film, they think that I had a big budget to do it, like 23 million. But in fact I had 10 percent of that budget. I did Mars et Avril for only 2.3 million.
When American producers see my film, they think that I had a big budget to do it, like 23 million. But in fact I had 10 percent of that budget. I did 'Mars et Avril' for only 2.3 million.
Director and producers have to take all the risks they can. We developed this film with the possibility to create departing from a blank page and to discover things as the process went along and as we understood the things that at first we couldn't understand in words.
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