A Quote by Chris Claremont
Look at 'Avatar:' the foreign ticket sales were over twice the domestic returns. The mind boggles at those kinds of numbers, but that's what you get when you effectively reach out to a global audience. If that kind of thing came to comics, it would undoubtedly change how people perceive the mainstream industry.
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There are a lot of people in the medium who came and got into the industry and work in the industry, and these are people who were raised on comics and loved comics. Comics are their religion. To such an extent, that they don't know anything else.
Sometimes people ask me why I began perestroika. Were the causes basically domestic or foreign? The domestic reasons were undoubtedly the main ones, but the danger of nuclear war was so serious that it was a no less significant factor.
The revolution of ideas that will save us is a revolution of goodwill, of compassion, and of higher thinking. I believe that they outnumber the people who would choose fear. But they are not a particularly politicized force. If you look at the numbers of people buying books about revolutions from within and personal transformation as the key to global change, the numbers add up to a much greater audience than most people realize.
If I drive my car to the store, those carbon molecules that are emitted actually get into the atmosphere circulation systems and affect climate in a global basis. This is shocking, this is amazing! No one in the 18th Century would have believed that anything like this were at all possible and I don't think we have, as part of our common sense, morality, norms and values that are really responsive to those kinds of issues, to the kind of power that we now are able to exert over the future and over people who live very far from us.
Filmmakers need to give the audience that something extra, an incentive to spend money and go to the multiplex - the ticket prices are high. Otherwise they'd just stay home, buy DVDs or download movies. But if there were only big budget movies it would be impossible for the film industry to survive. So I emphasize the importance of mid-range films. But those films need the support of theatre owners. The theatre chains have to have the vision to realize the need to support smaller films for the growth of the domestic film industry.
I can't tell you how many times I've booked an air ticket only to get to the airport and find out they killed my ticket because it goes into the system, and the program tosses a ticket that says 'fake' on it. Twice I've gone to the counter for a KLM flight through Northwest and have been rejected.
I think that the important thing to know is, which is great about this country [the USA], when it comes to domestic issues, we all battle it out and fight it between the parties and all those kind of things to get things done, but when it comes to foreign issues, overseas kind of things, then we all speak with one voice.
There seems to be something in the zeitgeist, and maybe it's a function of - I'm no analyst, nor am I a psychologist - when you look at things and say, What if I could go back and change things? I think we live in a world right now where people are asking those questions a lot. What if we could go back and change what we did? How would we change the way we handled things in the Middle East, and how would we change things with the banking industry, and how would we change economic and educational issues?
If you look at 'Avatar,' could you imagine if you did 'Avatar' for 50 million dollars? It would be ridiculous! You would almost be getting laughs from the audience, unless you got a real indie director to do something incredibly stylised.
Foreign policy is effectively the assertion of many individual countries intersecting on the global marketplace. And you have to figure out how to get your interest served in a way that meets the interests and needs of these other folks.
If a book were written all in numbers, it would be true. It would be just. Nothing said in words ever came out quite even. Things in words got twisted and ran together, instead of staying straight and fitting together. But underneath the words, at the center, like the center of the Square, it all came out even. Everything could change, yet nothing would be lost. If you saw the numbers you could see that, the balance, the pattern. You saw the foundations of the world. And they were solid.
It's funny how comedy is, you look at people like French and Saunders, when they started out they were very alternative. A lot of those alternative comedians have ended up being mainstream, they know that longevity is about being mainstream.
Underground comics were produced by individuals - they were the auteur variety, rather than the production-line sort of comic book aimed at pleasing a vast general audience. Mainstream comics never appealed to me: they seemed sterile in their stylistic consistency, and were quickly consumed, the stories interesting only for so long as you were reading them.
I want to change how people perceived me when I came over here, change how the people perceive South-East Asians or Middle Eastern or Muslim or Hindu or whatever their identity is. I want them to just let that go and treat the performer as a performer.
What we did with Avatar, if you really look at it, we took things that are out there in the world every day, we just made them bigger, shinier. ... But all our inspiration comes from the real world. So if you really look, you can see all those things around you, and I would just encourage people to get out and look for it.
I mean, when we did 'Families At War,' on Saturday night prime time, people said we were mainstream then. But it wasn't in the least mainstream. The fact that we got that on BBC1 at that time with those ridiculous things, that's as mainstream as we get. We do what we do and people can think that it's mainstream or avant-garde.
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