A Quote by Drew Barrymore

When I did 'E.T.,' it sort of solidified the only family I know are these film crews. These gypsies. These filmmakers. That was the solidification and the clicking revelations of 'This is what I want to do with my life and this is where I'm going to survive.'
We perceive the solidification as the world around us, which appears to be relatively solid. But that solidification is just really a reflection of the solidification of one's sense of self.
I think in life, people know what they want. They want to survive, they want to have a family. They want to procreate because it's in the genetic law.
A lot of biopics to me feel very much like someone is standing in front of the camera and is reading a Wikipedia page to you, like someone is reciting event. Did you know this happened? Did you know that happened? But Alan Turing's life deserved a sort of passionate film, and an exciting film.
I think it's like the '60s - we're going to see another revolution in film where these new filmmakers stand up and take ownership of what film is and mould it into what they want.
We Gypsies know that where Jews are killed, Gypsies are always murthered too. And then a lot of other people, usually.
'Hunger' definitely changed my life, in terms of being recognized by filmmakers, since that was very much a filmmakers' film.
I am not from a film family. I don't know much, but I definitely knew that if I want to be a good enough actor, I should be able to do any sort of role.
As it is, I'm happy that the tourism department has sent out word to agencies in Delhi asking them to help filmmakers whenever they want to shoot their film in the capital. At least, they are in favour of the filmmakers.
I left film because I felt that photography was my art. It was something I could do on my own, whereas film was so collaborative. I thought as a photographer I could make something that was artistic and that was mine, and I liked that. And it wasn't until I got back into film and I have very small crews and I could do very tiny filmmaking that wasn't 100 people that I still felt that I was making something artistic as a filmmaker. So, you know, I'm an artist, and whether it's photography or film, I want my voice to be there and I think my voice is very strong in this film.
The challenge to me as a director was for the audience to see the film as going on in a straight line, so that they did not sense all of these break-ups. I did not want a film to be a collage of all these images.
So finally, I can feel a sort of pride in all my family - Mum, Lynn, Corin, Tasha, my cousin Gemma - because, I think how wonderful that this troop of gypsies can carry on telling stories.
I did not want to be an actor because my whole family did it-going into the family business was the last thing I wanted to do.
In the '70s, you didn't know who was going to survive in a disaster film.
As filmmakers, we want the audience to have the most complete experience they can. For example, I interviewed Stanley Kubrick years ago around the time of '2001: A Space Odyssey.' I was going to see the film that night in London, and he insisted I sit in one of four seats in the theater for the best view or not watch the film.
If I'm in an unusual or extreme social environment, I always want to know what it's like to grow up there and experience it as normal, everyday life. And I want to know what sort of adults these children are going to turn into.
I may not get the opportunity to make movies for my whole life, but I'm going to make movies for the rest of my life. Maybe studios won't pay for it, but I'm going to do it because I love it. So, I just have to be proud of what I make, and what I'm trying to say in what I make. If people don't like it or people don't see it, that's beyond what I can control. I'm a storyteller, and people are going to listen or not and like it or not. That's only solidified over time.
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