A Quote by Candace Cameron Bure
I will only do family-friendly films or television. They don't have to necessarily be Christian films, but I want to be in things that I'm comfortable having my children and husband watch. They come first in my life, not the film industry.
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Pure Flix makes evangelistic films, but we also make family films. I think the viewer wants to see quality entertainment that the whole family can watch, and many nonbelievers watch our films because they can watch with their family and young kids.
The film I do doesn't have to be a film that only my kids can watch. My kids will watch films, but I will decide what they watch and not. My aim is to play different characters and not be stuck in a mould. Just because you are a mom and a wife doesn't meant you have to play those roles, even in films.
Once in a while a good opportunity would come along, like the first 'Playhouse 90 ever to air - working in television afforded me my best opportunities. The (film) industry was going through such turmoil at the time - studios didn't know where to go anymore, they were falling apart, television was there. They didn't know what kind of films people wanted. The European films were making a huge impact because those films wanted real people in real situations.
I often find in the film world, that it's very self-referring. If you talk to someone about films, they talk about them in terms of other films - rather than as something that happened to them in their life. And I'm really keen to get back to film as a reference to real things, not necessarily to other films.
I will not leave my South films for a Hindi film. I want to be sincere to my South film makers and commitments. Only if my dates are not clashing with any of my South films will I do Hindi films.
Failure worries me; nobody wants to fail. There is a fear that one day, films will not come my way, or if someone doesn't watch your film, that is a worrying point. It is unpredictable in the industry.
There are films where the promos reveal all the punches and when you go to watch the film you feel like having seen it all. Such films don't last after a good opening.
I don't watch my own past films: when I watch them, I find they don't work very well, because I have changed. If I continue to make films, in fact, it is because I always want to repair my films. My inner rhythm has changed; I have changed. I have changed my way to film.
Actually, I can't stand watching violent scenes in films; I avoid watching horror films. I don't tend to watch action films mainly because I find them boring, but I watch the films of David Cronenberg and Martin Scorsese, usually in a state close to having a heart attack. I'm a complete coward. I make violent films as a result of my sensitivity to violence - in other words, my fear of violence.
I watch my films with my mum and other family members, you know. I also know there are thousands of women who watch my films. I don't want to set wrong examples.
Film fests are an opportunity to see different kinds of films that you usually don't get to watch. When I'm part of a jury, then I get to judge films, but otherwise I attend festivals to watch two or three films a day and network with a gathering of cinema lovers from all over.
I enjoy the making of the film and it's something for me to do. If nobody ever comes to my films, if people don't want to give me money to make films, that will stop me. But as long as people come all over the world and I have an audience and I have ideas for films, I will do them for as long as I enjoy the process. And I like the whole process of making a film.
Most Chinese filmmakers grew up watching television; they watched films on television, not in cinemas. The scope of their vision is not big enough, they're not yet detail-oriented enough. You have to watch films in cinemas for years to understand the depth and scope of vision needed in filmmaking. Directors in China usually come from an academic background; they graduate as film directors. Whereas the directors from Hong Kong learn their trade on sets, beginning at the lowest rung.
With excessive digitisation, now, everyone is making films, which is good, but the makers think that they will quickly make films in digital and bag satellite rights but television channels buy satellite rights of notable films only. If we made fewer films a year, percentage of hits would be better.
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.
The single difference between films for children and films for adults is that in films for children, there is always the option to start again, to create a new beginning. In films for adults, there are no ways to change things. What happened, happened.
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