A Quote by Daniel Espinosa
I made this Swedish movie called 'Snabba Cash,' or 'Easy Money,' and it was shown at the Berlin Film Festival. A lot of American studios, agents, and people like that saw it there and liked it.
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I made 'Siam Sunset.' In Australia, it was pretty much universally hated, but I did notice that almost any American who saw it loved that film, so in 2001 I made a film in America called 'Swimfan,' and they released like a big studio movie, and it made money.
Gus van Sant I met at the Berlin film festival, and he came up to me. He had a little film in the festival called 'Mala Noche' that he had made for $20,000. He said: 'You are one of my favourite actors. I'm doing 'My Own Private Idaho' with River Phoenix and Keanu Reeves. You should be in it!' Then I started working with Gus.
This worldwide spread of recognition is insane. I was brought up in a small country. If you made a Swedish film that just got into a film festival somewhere, that was like the biggest thing you could wish for.
Eventually, in '84, we made a film for a little over a million dollars - with American actors that was shot in English - that was shown in Finland A little action film called Born American.
I like the Edinburgh Film Festival, and I've liked what I've experienced of Glasgow's Film Festival too.
All the interesting films are now being made by their subsidiaries for very low budgets. But the studios are not making money. They're making these big, very expensive pictures that take a lot of money but don't really pay for their costs. So they're having a very difficult time. I can see the system breaking down. I think the American studios are a reflection or a metaphor for American industry altogether, which is failing in the world. Its economic domination is being broken down and I think the same thing is happening to the studios.
I think a lot of American fans or people that read about us - they think that we're trying to be a part of the American culture, like all these Swedish kids that love America. We rap in English, so I guess there's something, but we're very Swedish, actually.
'Black film,' that term allows studios to just marginalize a movie and say, 'We've made our black film. We've made our film with people of color in it,' as opposed to, 'I just feel like people of color should be in every genre.'
I'll never forget the first screening at the Berlin Film Festival. As soon as the film ended there was an outbreak of booing, which made us look at each other with some surprise.
My dad made a film called 'Willow' when he was a young filmmaker, which screened at the Cannes film festival, and people were booing afterwards.
Sadly most films only get exposure if they win an award or were in a festival, which is really difficult because those things cost money! Submitting your film to a festival or campaigning for an Oscar or a Golden Globe is very expensive. Most people don't know that, but all those events require a lot of money. If you have a small independent film, it's very hard to get the attention of people in those circles.
I think for a lot of people that had seen me do Snabba Cash, after watching The Killing, I think they got a sense that I could do different kinds of characters.
I think for a lot of people that had seen me do 'Snabba Cash', after watching 'The Killing,' I think they got a sense that I could do different kinds of characters.
What's great about the Sundance Film Festival is the festival takes over that town as it's intended to do. But, it's very focused on a lot of other filmmakers and distributors so it almost feels like, while they're a lot of so-called civilians there, it's an opportunity that you have to see, to show your stuff to the other folks, your peers really, and to get that reaction.
My big break was really Liz Meriwether saw me in a movie called 'Paper Heart' and really liked it, and then saw me in a movie called 'Ceremony' because she knew Max Winkler and said, 'I want you to be in 'No Strings Attached,' but you gotta audition for it.' From that it was easier for her to get me in 'New Girl.'
My big break was really Liz Meriwether saw me in a movie called 'Paper Heart' and really liked it, and then saw me in a movie called 'Ceremony' because she knew Max Winkler and said, 'I want you to be in 'No Strings Attached,' but you gotta audition for it.' From that it was easier for her to get me in 'New Girl.
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