A Quote by David Hewlett
I revel in movies where the monsters tower more over the tiny budgets than the characters they threaten.
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The movies I did before were movies with a lot of characters, a lot of locations, and low budgets, which meant that I was running all over the place and never had the chance to build a relationship with an actor. I was always having big, strong relationships with the cinematographers or editors or production designers, but not with the actors.
I grew up really loving horror movies and genre movies. I was a big fan of Universal Monsters movies, read Famous Monsters magazine. I built monster models and creature effects...
I think of myself as making independent films within the studio system. Yes, I've made movies with significantly larger budgets, and I've also made movies with smaller budgets.
A lot of people just ask me about how I can do small budgets and big budgets, but many actors do both. I think the more self-destructive impulse I have is doing so many different characters.
The transition from tiny movies to less tiny movies to really big movies has been actually quite seamless in a lot of ways as far as my experience of acting in them.
The Tower of David is important for Israel's heritage and existence because it is more than a tower, it is a symbol. It is more important than the Azrieli Towers.
I used to consume a lot of horror movies as a teenager, and some impressed me more than other ones. I would watch Romero's movies, Dario Argento's movies, 'Eraserhead' over and over. 'Possession,' 'Repulsion,' 'Freaks.'
The American horror movies are more moralistic, they have not only good characters, but characters where the ultimate danger is death. What I like about European cinema is they have another sense of what's good, what's bad, and sometimes all the characters are far more complex than just that. It's less binary, the Giallo genre.
The [EU] Council of Ministers will have far more power over the budgets of member states than the federal government in the United States has over the budget of Texas.
The way I love monsters is a Mexican way of loving monsters, which is that I am not judgmental. The Anglo way of seeing things is that monsters are exceptional and bad, and people are good. But in my movies, creatures are taken for granted.
So...I'm larking through the Baby Gap, looking at tiny capri pants and sweaters that cost more than ... I don't know,more than they should. And I get totally sucked in by this ridiculous, tiny fur coat. The kind of coat a baby might need to go to the ballet. In Moscow. In 1918. To match her tiny pearls.
I'm not really trying to reach a big mass of an audience. My movies are done for a tiny, tiny budget, and that affords me to make them more personal.
Since Star Wars, that film's success led to bigger budgets, more hardware, that the great movies like the ones I did, which were studio movies, are now independent movies. They range from half a million to several million, and a lot of those have very interesting roles.
You're a superhero. Shut up and enjoy having superpowers. This makes me crazy. This is why the Marvel movies kick DC movies' asses right and left. Because, I'm not paying $15 for a movie to go watch people being morose about lives that are much more interesting and exciting than mine and they hate them. I'm paying my money to see people sort of revel in doing things that I can't do.
I know Peter Jackson a tiny-tiny bit from interviewing him about the 'Lord of the Rings' movies over the years. When I was visiting the set of 'The Return of the King,' he let me be an extra so I could see filmmaking from a different perspective. I was a Rohan soldier.
I think we make the movies, initially, with the one movie in mind. But we do love the characters, and so we kind of miss the characters when the movie is over. But I think what happens is, every now and then you realize there's more to tell, or an idea comes up.
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