A Quote by Andrew Dominik
The crime film is the most honest American film.
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I always feel that crime films are about capitalism because it is a genre where it is perfectly acceptable for all the characters to be motivated by the desire for money. In some ways, the crime film is the most honest American film because it portrays Americans as I experience a lot of them, in Hollywood, as being very concerned with money.
I did not want 'Battleship' to be perceived as an American war film. I wanted to do everything I could to make the film accessible to a global audience. It felt like bringing an alien component to the film would help take the American jingoism out of it.
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.
I was a child in the '60s and a teenager in the '70s, which was the golden age of film as far as I'm concerned, between American film and the Italian reinvention of genre film.
Our film [Hide and seek ]was created as part of the Asian American Film Lab's 11th 72 Hour Film Shootout filmmaking competition, where filmmaking teams have just 72 hours to conceive, write, shoot, edit and submit a film based on a common theme. The winners were announced during the 38th Asian American International Film Festival in New York last July. The theme for 2015 was 'Two Faces' and was part of a larger more general theme of 'Beauty'.
For the most part, the American film market has become very corporatised, even independent film to a degree, and because of the corporate management mentality, they want to take the safe way.
I loved American filmmakers when I was growing up. I didn't get to film school or anything. I was a very bad student. I just devoured film, but there was a point in my teens when I started to run a little film society.
I did New York, I Love You which is a very personal film for me. My most personal film, but it's not like a film I've ever made. I would never do that film as a feature, for instance, because it's not very commercial of an idea.
Every time I make an American film I just trust the American director and American writer. Myself, I would never make this kind of film. For me, those kinds of films are ridiculous. They don't make sense.
To be honest, you have to do a big Hollywood film to get enough money to do a good independent film!
Film festivals are a great vehicle for gaining an audience for your film, for exposure for the talent in the film and for the film makers to leverage opportunities for their films. I love the energy that film festivals bring.
You know, in an ideal world, people would just be intrigued and go and see a film without knowing anything about it, because that's where you're going to have the most experience of a film, the biggest, the most revelation of a film. But at the same time, I think there are benefits of having seen a trailer where you actually look forward to seeing moments in a film knowing that they're coming up. I don't know which is better.
To be honest, I hadn't realised the greatness of film music till I was exposed to film songs after I started living in Mumbai.
We didn't create the culture of film. We certainly market it better than anyone in the world, but film could have happened anywhere. It's not distinctly American, as witnessed by the fact that there are film communities throughout the world that tell stories to their own cultural liking.
I meet all these American filmmakers that film for months and months, and it's a mystery to me. I couldn't make a film like that. I have to be very clear in what I'm doing and where it's going, and be very disciplined about what I film.
Patti [Smith] was my experiment, to be honest. And the film is what we got out of it. At the end of the day, I learned a lot about how to make a film.
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