A Quote by Charlie Cox
It's very, very tempting to make a superhero film or show and make it about the powers.
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I had no confusion about making a superhero film. From the very day one, I knew I will make a movie of this genre which will have an Indian superhero. I never wanted to copy my superhero from any of the Hollywood ones.
I wanted Luke Cage to very much be an African American superhero rather than a superhero that happens to be black. I felt it was important to give him that cultural grounding but also show that it doesn't make him an obtuse or one-sided character.
I'm not trying to be self-serving, but you know, you get to Hollywood, and if you want to make something big and loud and dumb, it's pretty easy. It's very hard to go down there and make a film like 'Sideways,' which I thought was a great film. They don't want to make films like that anymore, even though that film was very successful.
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.
The thing about superheroes is that they don't have problems, right? A feminist hooker superhero wouldn't have to worry about assault, or pregnancy, or poverty, or disease, or eating and shelter, or police. In order to make her a superhero, you have to divorce her of the very context that makes her story possible. You have to gloss over the trauma.
The reason why I always wanted to make an American film was because of the Western genre. It is something that I would very much like to make in the future, because it's very uniquely American, and I can't make a Western film in Korean.
They make three types of movies, and if you don't make one of those three, you have to find independent financing: It's either big-action superhero tent-pole thing, or it's an animated film, or it's an R-rated, raunchy sex comedy. They don't make movies about real people.
We take safety very, very seriously on every film I make, and that's why I've never had a serious accident or anybody killed when I make a picture.
We’re surrounded by anonymous, poorly made objects. It’s tempting to think it’s because the people who use them don’t care - just like the people who make them. But what we’ve shown is that people do care. It’s not just about aesthetics. They care about things that are thoughtfully conceived and well made. We make and sell a very, very large number of (hopefully) beautiful, well-made things. our success is a victory for purity, integrity - for giving a damn.
I really discovered [Dr.Strange] through hearing about this film and first meeting Scott [Derrickson] and getting into it and just opening up and saying, "Okay, this is, like all comics, very much of its era," and my first question was, 'How do you make this film? Why do you make this film now?' and the answers were so enticing that I was like, "I'm in."
I'm very lucky to say that I worked with a lot of directors who cannot make a bad film. Like when Wim Wenders, they cannot make a bad film. They can make a film people don't like, or it's the wrong moment.
As for direction, I definitely do not have the patience or the resilience to make a film. Directing a film is very, very hard.
To make a film is easy; to make a good film is war. To make a very good film is a miracle.
I'm not always happy when Hollywood does remakes of films, but that's usually, when they have a very, very, very good film and they take away anything controversial from it and make flatter.
I'm not always happy when Hollywood does remakes of films, but that's usually when they have a very, very, very good film, and they take away anything controversial from it and make flatter.
The one thing I do believe is, if you make the songs about the human aspects of things, you've got a much better chance of having the music transcend the times. If you make them very political and very topical, it's going to date very quickly.
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