A Quote by Andrew Bujalski
I suppose it's nice that I've made films that some people have heard of and respect. That's great. And it's certainly helpful in some regards, but they're really tough economic prospects. They always have been, and that's not necessarily getting any better. And not just the films, but it's also been a rough 10 years for that independent film market. And so I have stumbled onto this point in the timeline where the kind of stuff that I'm trying to do is not... it was a lot easier to know what to do with it 20 years ago.
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I never thought of myself as any kind of a film star, as many films as I've made - and I've made some really fun movies with good people. I've always been paired with someone because I'm not really box office, in that carrying-a-picture sense. I've always been busy, but not in the spotlight.
I come from the belief that all good films find their time whether it's on opening week or sometime later. That's certainly true with some of my favourite films that might relate to this [The Assassination of Jesse James] film in terms of cadence like Pat Garrett & Billy the Kid, or McCabe & Mrs Miller or Days of Heaven. I found them 10 to 20 years after they were made.
You know, independent films have been institutionalized, practically. Every studio has got a boutique arthouse label. There's like, 18 different independent film-financing funds. In fact, I think the children of those films are getting made. A more interesting question is whether those films are going to get seen and appreciated.
If you look at Hollywood today, compared to five years ago, 10 years ago, 20 years ago or 30 years ago, the change from moment to moment has always been extraordinary. It never stops moving.
The BFI recently did a study of the British films that have the most people of color in them in the last 10 years, and in the top 10, three of the films were my films. I've always been a glass-is-half-full person. I've always gone, "If people aren't going to do it, I'm going to do it".
If you draw the entire timeline of humanity from the time humans first trod until today, let's just assume that's 10 feet on a timeline. My time on that timeline is so small that you couldn't point it out. Let's say it's smaller than a grain of sand, in that whole 10-foot timeline of humanity. And when I lost my hearing, it happened to coincide with human technology advancing to the point that the cochlear implant existed. If I had lost my hearing five years earlier, I would have had to quit my job. I would have lost my career. I've always been kind of in awe of that reality.
I'm drawn to a lot of first-time directors. One of the great common denominators in these small independent films is that there's a person, or two people, who have an absolutely monomaniacal passion to get these films made. That's what makes them happen. Sometimes, it takes years and years to finally get it done, but by never backing down, by never giving up, they get these films to the screen by hook or by crook.
It makes me forget that I'm not going to be a major star and lead female in films whether it was 20 years ago, 10 years ago, five or in the future.
Films have been my only passion in life. I have always been proud of making films and will continue taking pride in all my films. I have never made a movie I have not believed in. However, though I love all my films, one tends to get attached to films that do well. But I do not have any regrets about making films that did not really do well at the box office.
I am good in the fact that most of my reviews have been very positive really. I get pretty good reviews. There have been some that aren't - critical. I think they are extremely - the people that wrote them really don't understand what they are looking at quite frankly or have a very preconceived notion of what conceptual art should be or where I am at or the fact that I may change what I have done from what I did 20 years ago. But there is always some reason that they just sort of get it wrong. And so it certainly doesn't affect my work.
I feel that so many sci-fi films and films in general have just become really dependent on and addicted to CGI, and that some of the big CGI films of the summer, you see these effects that look like crap. You don't know if you're watching a cartoon or something that's real. And I didn't want to fall into that trap. I really thought there was a way to use a lot of these old techniques to do some new and really neat stuff.
I try, in my films, to normalize things that maybe 20 or 30 years ago a film would have been about. 'Guess Who's Coming to Dinner' needed its own film, but now blended families you see all the time.
Getting signed shouldn't be the point. I made that mistake early on and I think a lot of people do. It's not something you should rush into. I think I'm actually lucky that when I went to visit labels when I was 20 years old and played and they thought I wasn't ready, it was probably a good thing because I wasn't ready. I didn't know what I was getting intoat the time. I mean, you never know exactly what you're getting into. There's a lot of stuff that's going on right now that's new to me but there's also a lot that I'm lucky to know how to handle.
I was doing a play out in L.A. 20-some-odd years ago called 'Goose and Tomtom' by David Rabe, and somebody saw it and the next thing I know I'm doing the table read of the film version of 'Glengarry Glen Ross' with Al Pacino and Jack Lemmon - one of the great films of our generation.
I always say it took me 10 minutes to write 'Cars,' but if I am honest it could have been even less than that - and it has been a really successful song over the years. It is still massively used, in advertising, in films, and people do cover versions of it a lot.
Four of my films have been remade in Tamil and Telugu. Although I haven't seen any of these remakes, I do feel happy that I've been a part of good films. It's nice to know that some scripts still leave behind a mark after their theatrical run this way, so I have to admit, it is quite flattering.
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