A Quote by Alex Stapleton
Films are a very tangible thing. It's making something with your hands. I think all of these guys - Roger and the whole cast of this movie - what they did was they were willing to make mistakes. They were willing to make movies that were really bad. But they learned.
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I think the press mistakenly thought that all of these 'mumblecore' filmmakers were banded together in a similar ideology, but the truth is that we were all just using the same digital camera and helping each other make our movies because we were broke, and we were the only idiots willing to do it.
Be willing to make bold decisions and be willing to make glorious mistakes. Learn from your mistakes, but you've got to be willing to make them first.
She was terrific to hold hands with. Most girls if you hold hands with them, their goddam hand dies on you, or else they think they have to keep moving their hand all the time, as if they were afraid they'd bore you or something. Jane was different. We'd get into a goddam movie or something, and right away we'd start holding hands, and we wouldn't quit till the movie was over. And without changing the position or making a big deal out of it. You never even worried, with Jane, whether your hand was sweaty or not. All you knew was, you were happy. You really were.
The good thing about those original credit card commercials was that they were very "filmic", they were like little movies, so it wasn't a big step to think well maybe we could make a big movie using this character, which we eventually did.
I was turning up at sets where inexperienced people were making these badly written films - but they were doing it; that was the point. They were getting their films out there. And they were paying me, so they obviously had access to money. I just thought, 'I can make something better than this.'
My early films were very European based. It was 'As It Is In Heaven,' 'Together,' they were great international successes, but then I did, I think, 60 movies or something.
We were film geeks. We devoured everything: really obscure art films, foreign films. We were the kind of guys that lived at the Cinematheque. But at the end of the day, your favorite movies are like everybody else's favorite movies. Because those are the movies that become a touch point where you can connect to other people.
If you take a movie like Easy Rider which everyone counts as the beginning of New Hollywood, that is a big movement. And then, when you really dissect that film and the people that were behind that movie, you realize that it has Roger Corman written all over it. Easy Rider is a hybrid film, taking The Trip and The Wild Angels and making a new explosion. And the people that were making it, guess what, they were all [people who had worked with Roger Corman].
I think the most important thing to do is to be willing to listen, willing to care, and willing to admit mistakes and change your ways for the better!
When you're making a movie, you can't think anybody will ever see it. You've just got to make a movie for the values it has. The greatest films were made because someone really wanted to make them. And, hopefully, the audience will show up, too.
The whole first movie [Twilight] was pretty fun. I had never really done a movie like it, when there's such a big cast of people that are around about the same age. Everyone didn't really know what was going to happen with the movie, but there was a good energy. There was something which people were fighting for in a way. They wanted it to be something special. Also, none of us were really known then as well.
In the '60s and '70s it was a great period for American films because studios were still run by individuals who worked off the seat of their pants and went along with things. At that time, they were very uncertain about what to make because of the influence of television. A lot of really terrific movies were made. But then the studios gradually became more corporate and were owned by corporations and run in that way and now they're very nervous. You see what they make - sequels, franchises and try not to take risks.
The first thing I did as a child was draw. I wanted to make animated movies. I think Disney's 'Cinderella' was the first movie I ever saw. 'Peter Pan' was the first movie I ever saw in the movie theater. I grew up with 'Dumbo' and 'Pinocchio' and 'Sword in the Stone.' Those were the movies I wanted to make.
Richard Donner made great movies. Seminal movies. The Academy, though, and we have to be careful here, should recognize popular films. Popular films are what make it all work. There was a time when popular movies were commercial movies, and they were good movies, and they had to be good movies. There was no segregation between good independent films and popular movies.
There has to be spiritual transformation among the masses, who have to be willing to recognize that their oppression is not a law of nature. That's what Latin American bishops were doing when they formed base communities. They were trying to get peasants to recognize that you can take your fate into your own hands. That's what the civil-rights movement did here. That's what the women's movement did.
We've always done things the way we wanted to. It's true that our experience affects some of our decision making, but that's a part of growing up and evolving as a band and as people. The first five or six years were really rough. We had no money. We were lost and crazy and made mistakes, but we learned a lot and suffered through tough times, and I think what we did reflected where we were and who we are.
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