A Quote by Charlotte Rampling
European films were what it was about for me - the sensations I needed, the depth, the storytelling, the characters, the directors, and the freedom that you can't really find in American films.
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European films were what it was about for me - the sensations I needed, the depth, the storytelling, the characters, the directors, and the freedom that you can't really find in American films
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.
So many of Spielberg's films inspired my imagination growing up. And then there are British films like 'The Full Monty' and 'Waking Ned Devine' that took me to places I really loved, with characters I just thought were amazing. But the films of Luc Besson showed me France - a really cool side of France.
'St. Elmo's Fire' is one of my favorite films. I like the storytelling of those teenage American films. You don't get that now. Teenage American movies are all about sick jokes, puking a lot, arse jokes.
I don't know what to expect out of my films. My first two films were with extremely talented directors, and they didn't work. And my next two films were with newcomers, and they worked well. So I've stopped expecting anything from my movies.
I like independent films... European films. I do go and see popular films as well because my kids force me.
When we came to America, the movies here needed a "new wave." European films looked totally different than American movies, which were these lush, glossy pictures with this elaborate production design.
There's more emphasis on art and culture in Europe than there is in the United States and I think that a lot of American directors and writers are just trying to copy other American horror films, they don't pick up much in the way that European filmmakers do.
The films that have influenced me and the films that have motivated me and inspired me were films that resonated, films that made me think after I saw them.
There were a lot of people dreaming about making films, and they would finance maybe 6 films a year. Because they were funded by the government, the films sort-of had to deal with serious social issues - and, as a result, nobody went to see those films.
Good female parts are hard to come by, so I go all over the place to find them: cable TV, network movies of the week, foreign films, independent American films, studio films, the stage.
My films express me, my sense of rhythm, my sense of impact, my sense of kinetic energy. I like films to move, but I like also clear storytelling and characters, and most of all, I like authentic emotion.
The films I liked were European films - Federico Fellini, Michelangelo Antonioni, François Truffaut.
When I went to university, I finally got exposed to European films, and they had a strong impact on me. I felt those films had a lot of things to say that weren't getting expressed in the films I was used to seeing.
Bigger-budgeted films have more restrictions and less freedom to create. Because of this, I try to find freedom in the people I work with. I often work in ways I don't want to. It's more about controlling the situation. Lower-budget films are freer.
I find the stuff that is exciting to me are the films coming out of Taiwan and Iran and France. So I have the feeling I'm not making the films that American distributors want to make.
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