A Quote by Catherine Hardwicke
You have a big success, and it's still not easy to make a movie.
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I don't really like those sorts of actresses who say, 'I don't want to make that movie,' but they make the movie. They just spend their time not liking being on a set and I just think it's absurd, because we are so lucky to do this job. When you accept to make a movie, just make the movie. And then it's more easy for relationships.
In making a movie, you're part of a big machine. Even in a small movie there are still so many people involved in the process, and it costs so much money to make.
When you make a movie outside the system and it's successful critically or a moderate financial success, you usually have to go back into the system and make a big hit.
When you make a movie outside the system and it's successful critically or a moderate financial success, you usually have to go back into the system and make a big hit
'Shall We Dance?' takes a small, exquisite Japanese movie and turns it into a big, stupid American movie. Still, it must be said that as glossy and overproduced as the thing is, it's a good big, stupid American movie.
I'm going to continue doing what I want to do. And if it means I want to go and make a big movie, if it has something to say, I will want to make it. I don't want to spend my life wasting my time. If it's a big movie, I want to do it. If it's a small movie, I want to do it.
I remember a lot of conversations where I was constantly hearing, 'You've gotta do this movie so you can do that movie. You've gotta make a big movie so you can make a small movie.' But I can't act like that.
A movie's a movie - you know I'm a massive old film buff - but it's still something to me, music: I can still close my eyes like I was when I was a teenager, and it can still make me weep or make me angry or make me, even if it's bad music, crack up.
I think there's a danger that some people look at the success of my first movie as a fluke. So I want to make sure that my second film is an even bigger success. Then if I direct my third movie and it's terrible, it'll be okay.
When I make a movie, I just make the movie. I don't think about the success of it. If it becomes successful, that's an amazing treat. If it doesn't, you had a great time making it and you learned from it, and then you make a new thing.
To make a movie about someone who is thinking and writing is scary. There's no big love story, no action, no drama. It's not an easy task.
I think having simplicity doesn't always mean that you make a good movie. I have a theory that a movie that's easy to make is hard to watch.
Sometimes I test myself saying, 'If I get a death sentence if I don't make this movie, would I still make this movie?'
I was never a critic. I was a journalist and wrote about filmmakers, but I didn't review movies per se. I make that distinction only because I came to it strictly as someone who was just a lover of storytellers and cinematic storytellers. And I still am. I'm still a great movie fan, and I ,that love of movies is very much alive in me. I approach the movies I make as a movie-lover as much as a movie-maker.
You start out with big dreams and I mean, big dreams artistically. You want to work with the greatest living directors, make a great movie. I wanted to make a great love story, I wanted to make a great epic and then you realize that the truth of it is that it's so hard to make a great film. It's hard to get a great role. Those big expectations change to realism pretty quickly. But what's never changed is my desire to work with great directors and to find projects that push me out of my comfort zone and keep me alive. I still don't think I've done my best work
It's really easy to make a movie that five people understand. It's really hard to make something that a lot of people understand and yet is not obvious, still has subtlety and ambiguity, and leaves you with something to do as a viewer.
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