A Quote by Barbara Broccoli
So as I was growing up, my father was always in the middle of making a film or preparing a film. It was a full-time, all-consuming type of operation.
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Well, as far as film, either you're making a film or you're making videos. Digital capture is always trying to emulate the range and look of film. I believe personally that film has more.
I always wanted to go into film. I love film. I loved growing up in the theatre, but I always wanted to do film all along. But, I still pursue music separately.
I hate to write and spend months just waiting for the film to get financed. Then when you start preparing the film and you shoot it, you've already forgotten why you wanted to make the film in the first place. I like to have some kind of coherent energy that takes you through writing, preparing, shooting.
I never want to make a film. I don't wake up in the morning going, 'Ooh, I'd really love to be on set making a film today'. I'm aware that other contemporary film directors perceive film-making as what they do, as what they have to do. But I would hope that I am more catholic in my tastes.
I think, to go to the bottom of it all, that the films I have made and my kind of film-making is a hybrid type of film-making - in that it isn't American, it isn't Italian.
I'm always nervous about it. You know, somehow, without even knowing it, I try and recreate the idea of what it feels like to go in front of an audience every night when I'm making a film. And that similar type of pressure and excitement before a scene, or preparing for a movie, so...
Make the film that you love. When you find a film that you love, every molecule of your being will be moving in the direction of making the best film you can possibly make. This should be your default mode of operation.
I've always been interested in film, so to get involved in any way in the genesis of making a film or music for a film is fascinating to me.
This is indeed not only relevant to Documentary but is evident is most type of film making. The film often mirrors the experience, understanding and politics of the director.
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.
'Mafiosa' was written by Veronica Russo. It's her first time making a film, and I'm really proud of her because this woman has a full-time job, and she decided one day, 'You know, I want to write a film, and I want to make it.'
The next film I'm making is a horror film, and I'm making it with A24. It's a dark break-up movie that becomes a horror film, set in Sweden. That's all I can really say now. It's called 'Midsommar.' Everybody's been spelling it wrong. It's 'midsummer' in Swedish.
Though I technically come from a film family, my father had stopped making films even before my brother and I were born. So I did not really grow up in a filmi environment. And when I was growing up, becoming an actress was still quite a taboo. And you may not believe this, but even my father did not want me to join films.
The way you set up for a sequel is by having a successful film. The focus is on making a successful film, and making a film that travels around the world, and that people enjoy and have fun with, and that people are able to escape with.
Close-Up is a very particular film in my oeuvre. It's a film that was made in a very particular way; mainly because I didn't really have the time to think about how to go about making the film.
I always liked photography in film - I studied photography growing up. I like the medium of film; I like physically holding 35-mm film. I like the way it looks, the quality when it's projected. I like the way it frames real life.
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