A Quote by Derek Cianfrance

When I made my student film, a feature, nobody wanted to talk to me and I was, like, in the desert for 12 years. — © Derek Cianfrance
When I made my student film, a feature, nobody wanted to talk to me and I was, like, in the desert for 12 years.
I always knew that I wanted to be an actor. I made my debut on stage when I was 12, and I was sure that this is what made me happy. However, nobody takes a 12-year-old's career choice seriously. Everybody laughed it off. I also ran away from it, but acting eventually found me.
I did New York, I Love You which is a very personal film for me. My most personal film, but it's not like a film I've ever made. I would never do that film as a feature, for instance, because it's not very commercial of an idea.
When I made my first film I was 25 years old, and that's pretty rare. Being so young my experience and the thing that I wanted to talk about was teenagehood, plus in France we have that strong tradition of the coming-of-age story being made as your first film.
The feature film has changed a lot. Art houses are gone and people show a certain type of cinema in the big theaters now that, you know, it's not quite really good for me, and if I made a feature film, I was think I'd play in LA and New York for a week, and then go right to television.
Most of the most successful films Blumhouse has made have been rejected by everyone else. No one wanted to make 'Get Out.' Nobody. Nobody wanted to make 'The Purge.' I think it was floating around for three years before it came to us. Nobody wanted to make 'The Gift,' when it was a script called 'Weirdo.'
I wanted to be in film. I wanted to be a film student, possibly be a director or cinematographer, not an actor. That was my goal. I didn't believe I had the physical beauty that I'd seen projected and advertised in movies, in theater. It just wasn't for me.
I would like to do a nice comedy/drama feature with a good part, but nobody's asked me to do a film. Maybe it's because they don't know what to do with a guy in a dress.
I have a general feeling that writers and artists who are in this peculiar situation, of being a persecuted artist, all anyone ever asks about is the persecution. It may well be that's the last thing in the world they want to talk about. There were many years in which every journalist in the world wanted to talk to me, but nobody wanted to talk to me about my work. That felt deeply frustrating because I felt there was an attempt to stifle me as an artist. The best revenge I could have was to write.
You know, our country's being ripped apart. And let me tell you, this is largely an economic issue, too. You know that workers, hard-working people, middle class people, haven't had a salary increase effectively in 12 years, all right? So for 12 years, they're making less now in many cases than they made 12 years ago.
I came here from Romania when I was 12 years old. I had an accent. High school was tough a little bit for a few years. I wanted to fit in. I wanted to be liked. I wanted to be good-looking. I wanted to be popular. I spent a lot of time thinking, 'What are these people going to think of me?'
By the way, today with digital cameras and editing on your laptop, and things like that, you can make a feature film, a narrative feature film easily for $10,000.
In interviews, I never wanted to play into the myth of, 'Yeah, I was sitting there doing nothing, and then made 'Slacker.'' No. I'd been making shorts, a Super-8 feature, and running a film society. I always try to stress to people that there's a lot of work involved and years of preparation. But no one wants to hear that part.
Robert Rodriguez, makes a feature film in 35mm celluloid one and a half hours long, and nobody believed him, I think he wrote a book about it and gave all the details of how he spent the money, even making a 35mm celluloid feature film was possible, at least for Rodriguez.
After I made my first short film that wasn't terrible, people were interested in potentially developing a feature with me. Every time I read a script, it was a bizarre, too-dark, genre-less thing that no one wanted to make.
Mazhar never wanted me to grow as an individual or as an artist. He always wanted me to be with the kids and be at home. During the very first year of marriage I realised I had made a huge mistake, but I decided to live by it and make it work. I tried to make it work for another 12 years.
Ever since I made the short film 'Black And White,' which had almost no dialogues, the idea of making a silent feature film fascinated me.
This site uses cookies to ensure you get the best experience. More info...
Got it!