A Quote by Alex Kendrick
We also want to invest in the next generation of filmmakers. There have been hundreds of these filmmakers that have called us saying "Can we intern with you? Can we mentor under you?" And we want an opportunity to do that, as well. So, for those two reasons, we talked with our pastor and he gave us his blessing to kind of launch out and grow the movie ministry that we have.
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So, the next film won't necessarily be modern-day Albany, Georgia but we're grateful for the films we've made (with Sherwood). The church is an amazing church. We're gonna grow as filmmakers and invest in the next generation of upcoming filmmakers and try to duplicate what we're doing.
We [me and Alex Kendrick] had our pastor's blessing back in 2013 to launch out, and so we shot [ War Room] last year, in 2014, but we still had the church pray over us , before the movie hit theatres, and the pastor was asking God to bless the film, and so we're very excited about what's happening .
One of the things about Derek Jarman was that he was a painter who worked alone when he painted, but I firmly believe that one of the reasons he made films was for the company. He made filmmakers of all of us, that's the truth. I don't mean he necessarily made directors, but he made us filmmakers. Because we lived in a state of mutual responsibility for what we made.
The filmmakers are very much in their own kind of bubble. It was kind of a revelation to me and I realized why so many of the great filmmakers are one of a kind people. You know, they have a vision. They may be influenced by other filmmakers, but they don't work with them on anything.
Each one [movie] is very important to us and from a fiscal responsibility, filmmakers understand that it's highly personal for us and they've been great about it.
Post-war filmmakers gave us the documentary, Rob Reiner gave us the mockumentary and Moore initiated a third genre, the crockumentary.
I have no idea why one of our most original filmmakers would want to spend two years of his life translating someone else's movie from Spanish into English. And it wasn't such a good film in Spanish, either.
I think that I would like to have that kind of a budget [hundreds millions dollars] and I think the reasons for it are it gives you more time and it gives you the opportunity to be more ambitious with what you want to do with the camera and also how a scene works. I wouldn't want to direct those kinds of scripts.
As it is, I'm happy that the tourism department has sent out word to agencies in Delhi asking them to help filmmakers whenever they want to shoot their film in the capital. At least, they are in favour of the filmmakers.
I feel like God has intrusted a lot into me and I don't want to sit on it and be selfish. I want to think long term on how we can help this next generation of Christian filmmakers to make a big impact for God.
Some filmmakers, you know, have their style and then they kind of go looking for the movie. I'm not like that. I don't have one style that I want to take from movie to movie.
At first we feel called by God and attracted by him. We grow in our vocation and get the impression that God has gripped us and will never let us go. We want to withdraw from him in order to escape his grasp. But he loves us too much to allow us to fall. He holds us fast, challenges us.
I feel like I came from a generation where... We didn't have Vietnam. We didn't have World War II. Nothing cultural was thrust upon us to make men out of us, so you're kind of free to not grow up that way if you don't want to.
Also, to get to work with serious filmmakers on this kind of a movie, has elevated these movies. We were so lucky, as actors, that the crew of directors that we've gotten to work with are totally really super high-end filmmakers. But, Bill Condon had a vision and it was so specific. He's really passionate. I think he's taken the story to another level.
I like filmmakers where, if their film comes on and you step in halfway through it, you can recognize that, hey, this is a Coen Brothers film. Or, hey, this is a Stanley Kubrick movie. You can recognize some filmmakers. Like, if you put on a Sam Raimi movie, you can tell that it's a Sam Raimi movie pretty quickly. I like a signature style that people can recognize and relate to, and connect with. I think that is part of why we seek out certain directors. We want to see how they view the world.
If you deconstruct the movies that have done well, Pixar-type movies that do incredibly well and make hundreds of millions of dollars, they have a strain of decency and conservatism that maybe even their filmmakers don't even recognize. Yet, we cross our fingers that by mistake, liberal filmmakers and liberal producers are going to by mistake make conservative movies. We have to become invested in it, or else we have no excuse to complain.
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