A Quote by Debra Granik
Make your film for the least amount you can.
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There is always pressure. If you make a flop film then you are under pressure to make a hit film. If you make a hit film then you are under pressure to surpass your own standard or at least deliver another hit because the audience also has expectations.
You're more constrained when you're wealthy. Or when you're making a bigger film and people complain about no budgets; but having a small amount of money to make a film means you're at your absolute freest to express yourself as an artist.
I fight to drive my percentages through the roof for winning and lower my percentage by taking the least amount of damage and least amount of hits.
You need to make people think about society in a less literal and more primal way. It's about using the least amount of sounds to make the most amount of noise and energy, and making a bass stab really feel like you've been punched in the face.
The questions to ask are what is moral, what is ethical, what is in line with your belief system, and what seems to make the most sense and cause the least amount of harm? Eat the foods that are in line with your sincere answers.
Make the film that you love. When you find a film that you love, every molecule of your being will be moving in the direction of making the best film you can possibly make. This should be your default mode of operation.
Make it absolutely clear to yourself what you want from other people. That is really half the secret for drawing your desire to you in the shortest possible time and with the least amount of effort.
I was thinking I would love to make something that is a successful film that everybody sees, but I wasn't thinking about the actual dollar amount. I just wanted to make a great film that people responded to. That's always a good ambition because you'll never totally hit it.
There are different sides to me; I wanted to make a personal film but I would not want to make any film that does not reflect me in it. At least, not right now. I'm just too young to be doing that.
If African film makers had one-tenth the amount commanded by film makers the world over - even the amount used by so-called shoestring film makers - I think we would see quite an explosion of African films on the world scene.
I can understand that an audience, buying a ticket to see a picture of mine, wants to see something funny because they feel confident that at least I have a fighting chance to make a funny film when I make a film, whereas if I make a dramatic film there's one chance in a thousand that it's really going to come out great, so I understand how they feel about that and they're completely right.
You can make a film with a phone and a computer if you want, if you have the time. So it's a world that is saturated with films and all kind of stuff, so it's such a blessing to be able to make a film and people care, and even if they say that it's a bad idea, at least they care and they're talking about it.
As I talk to film students now especially, I say, "The easiest job you'll ever get is to try to make your first film." That's the easy one to get, is the first film because nobody knows whether you can make a film or not.
You have to have a certain amount of limitations, I think, to make art and to make something that can be alive on film. Money can get in the way of that.
You make a film and always hope you're going make "Citizen Kane" or "The Bicycle Thief." You make the film, and for one reason or another, one clicks and one doesn't, but it's out of your control completely.
There's no real rules about what you do [while directing]; it's just you just use your instincts as to the pacing of a film and what is repetitive and what is the minimum amount you can get away with to tell the story, that scene didn't make it in.
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