A Quote by Cindy Morgan

I did two films that have a great following. One is 'Caddyshack,' one is 'Tron.' To tell you the truth, most people don't know that it's me in both films. — © Cindy Morgan
I did two films that have a great following. One is 'Caddyshack,' one is 'Tron.' To tell you the truth, most people don't know that it's me in both films.
'Caddyshack' touched people; so did 'Tron.' 'Caddyshack' is a lifestyle, and 'Tron' is more religious, spiritual, but both are very emotional responses.
When I did 'Bird,' it was a surprise to some people, first because I wasn't in it and second because most of the films I'd been doing were cop movies or westerns or adventure films, so to be doing one about Charlie Parker, who was a great influence on American music, was a great thrill for me.
I never worked on different films at the same time. I made one by one. I never made two or three films together. This is impossible! I only have one head. It is impossible for me to think about two films at the same time. There are a lot of these legends about me, and I don't know why. I'm not a legendary man. But the people all the time say I make three films at the same time, and it's not true. Don't believe these kinds of things.
You must know that Iran has a great number of productions. Many films are released. Most of them, like in the rest of the world, are commercial and shallow films. These are the most popular ones. And there are a few ones that actually develop more profound and thoughtful aspects of life. Only some of these films travel out of Iran.
All of a sudden, there are great Japanese films, or great Italian films, or great Australian films. It's usually because there are a number of people that cross-pollinated each other.
It's always great to see one of the actors I've worked with from 'Caddyshack' and 'TRON.' I run into them occasionally at events.
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 want my films to do the talking. I feel if people have to understand me better, I should do more good films. I just want them to know me through my films.
Tokyo is wonderful for distribution of international films, a lot of Iranian films, Taiwanese films. But most of the art films are from Europe and Asia.
The vampire or the bad guy, that's what people do remember. Lars von Trier, like Guy Maddin, their films are made for a group of exclusive people who like special films. And they are special films, they are art films. And I started with commercial films at the beginning, and later on, because you know, when you are an actor, you have the same cliché like everybody else, you want to be in big films, you want to be known and all that.
I've been able to make some wonderful films, but sometimes you make films with great passion - great belief - and these films slightly don't work at the box office, and they become your favorite films.
The BFI recently did a study of the British films that have the most people of color in them in the last 10 years, and in the top 10, three of the films were my films. I've always been a glass-is-half-full person. I've always gone, "If people aren't going to do it, I'm going to do it".
What I want to do is make films that astonish people, that astound people, and I hope you want to do that too. It's easy to make money. It's easy to make films like everybody else. But to make films that explode like grenades in people's heads and leave shrapnel for the rest of their lives is a very important thing. That's what the great filmmakers did for me. I've got images from Fellini, from Bergman, from Kurowsawa, from Bunuel, all stuck in my brain.
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.
I don't understand how people do so many films at the same time. For me, two films a year.
I was a good student. For a while, my parents did make me cope with school and films simultaneously. But after a point, this wasn't practical. I had to choose between studies and films. I chose films.
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