A Quote by Amber Sealey

The sort of movies I make are not ones that can easily be sold upfront, so I have to make them and prove their mettle before I can sell them. — © Amber Sealey
The sort of movies I make are not ones that can easily be sold upfront, so I have to make them and prove their mettle before I can sell them.

Quote Author

Amber Sealey
Born: 1975
I don't really have much to prove. I can easily go in a comfort zone, make two films a year, hype them because I've signed them as a star, make them cheap and they will be big hits.
There is quite an important director in Germany who I think in the early fifties over here, and then went back, and he said something that's absolutely true. And it's more important to repeat that today than it ever was. Not for you, but for us over there it is important. He said, 'In America they make movies like art, and sell it like commodities. We make make movies like commodities and sell them like art.'
And I told you before, I'll sell you any of the thoroughbreds.” “I didn't make any of those thoroughbreds. I didn't make them what they are.” “You made all of them what they are.” I don't look at him. “None of them made me who I am.
The true end of education is not only to make the young learned, but to make them love learning; not only to make them industrious, but to make them love industry; not only to make them virtuous, but to make them love virtue; not only to make them just, but to make them hunger and thirst after justice.
It's all about commerce. Movies are not made like paintings, where you can make them for free and put them at the side. Movies are supposed to make money.
I only watch my movies that I make once, so I can just see how it hangs together, but after that, I don't watch them again. A lot of people have disappeared from Earth that you've worked with, and they make me sort of sad once in a while, and there's really no necessity for me to watch them. I've made them, and it's on film and that's that.
I think the central metaphor of the movie is this notion of what the advertising industry does. In order to make someone want to buy something, they first have to make them feel bad about who they are in order to sell them that thing which will make them whole again, and happy again.
Even some of us who make movies underestimate their influence abroad. American movies sell American culture. Foreigners want to see American movies. But that's also why so many foreign governments and groups object to them.
The Seydoux-Schlumberger industrial empire won't make $100 million movies. Hollywood does that much better. But you don't make movies because of their budgets, you make movies because you believe in them. Setting limits doesn't matter to me.
We have to make their livelihoods viable, get them the proper prices for their produce, try and make them stay rather than sell their property and leave again.
If I make two movies my entire life, and they're two movies that - whether they make a lot of money or two people go to see them - they speak of me, then I consider them incredibly successful. I don't need to be Steven Spielberg.
Everybody who's making the movies needs to work hard to make sure they're good. And if you don't show up and see the movies and support them financially, no one is going to make them. It's going to change unless it makes money. That's the long and short of it. You have to give in to the fact that it's a business.
The thing is, people can't complain about profit-oriented moves if they're only interested in profit themselves. You can't have it both ways. If they're willing to polish up a gift and sell it to make money, they can't really complain about the fact that somebody above them has sold them down the river. That's the way it goes.
I used to make little movies when I was younger. I'd make my friends be in them and then edit them.
I'm not sure my books would translate into movies very easily. So rather than have someone do a terrible job, I haven't been willing to sell them.
There's good movies and there's bad movies. The genres are never dead, it's just about how to apply them and articulate them and execute them - the story, the quality of the writing, the acting, the design elements, the directorial execution - all these things make it what it is.
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