A Quote by Dustin Hoffman
And that's another reason to make this movie: We can put plays on film now, at a relatively small cost, and they will reach an audience they would never have reached otherwise.
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I think the war movie genre is a very important genre in film. Film gives you a visceral experience of something that you would never otherwise experience. To give the audience a real feeling of what maybe a certain kind of warfare would be like I thought was great.
I thought I should try something relatively inexpensive, relatively contained, relatively small. I started working on a feature, a film I'd still like to make: a very talky film of people and ideas about our contemporary state with regard to relationships, marriage, sex, and romance. I started trying to educate myself about filmmaking.
You never know how a film will play, whether it will be successful or not, or whether it will touch the audience. I always said to myself that whatever happens, big audience or small, that I would not let the results have an impact on my way of working. But it would be a bit silly for me to change my methods when I have a big success. That means my methods work well.
You want the audience to get your movie, and you want the audience to like it. It's as simple as that. If they don't understand what you're trying to say, you've failed. Of course, you can't get 100 percent of the crowd to understand the movie, but you know when you've reached the people you want to reach.
It's basically how I choose movie roles. Would I like to see this movie? Is this movie important? Why would I do this? And Headhunters is a movie that I would like to see in the cinema. And when it's sold to 50 countries or whatever, for me it's a great deal. I make movies for an audience so if that audience grows, I feel really honoured and thankful for it.
The incident itself happened in London, but because we were all based at the time in Los Angeles we moved it there. Certain details are almost exactly like the true experience, but we decided to make the film more of a thriller, in the hope that it would reach a bigger audience. That's why it's called "Selling Isobel" and not "Selling Frida." We didn't want to make a dark, depressing "movie-of-the-week."
See, if I was a filmmaker and I was putting my money in a film, I would definitely want actors who can bring the audience to the theatres, otherwise what is the point of it? Because I will be spending a lot of money on the film.
Broadway's never my end goal because of the plays I write. These are tough plays. Of course there's a lot of humor, but my goal is just to reach as wide an audience as possible, however that happens.
A lot of my friends are struggling. A lot of my friends didn't make movies, which was really hard and sad. I'm good friends with this film collective, Red Bucket, which made Daddy Longlegs and The Pleasure Of Being Robbed. They're climbing the walls. They're all making cartoon booklets now, because they can't raise the funds to make another movie. But I think that when it returns, which it hopefully will, there will be another surge of energy.
There were no rules. There's no guide to follow. I would just trust my instincts for some unknown reason. Something inside me would say, "This guitar is not loud enough," and I wouldn't know why. You never know how to reach that point until you've reached it.
There is no small degree of malicious craft in fixing upon a season to give a mark of enmity and ill-will: a word--a look, which at one time would make no impression, at another time wounds the heart, and, like a shaft flying with the wind, pierces deep, which, with its own natural force, would scarce have reached the object aimed at.
I get an opportunity to communicate with the audience about the movie that I've made. I get the chance to bring attention to the film that I've made. I care a lot about the movies that I make. I want them to reach an audience, and I want them to be successful. I promote nearly everything that I do, unless I've got some bad taste in my mouth.
Of course, you have to think of the audience. You cannot make an obtuse film that only appeals to a small niche section of the audience.
To the distracting occupations belong especially my lecture courses which I am holding this winter for the first time, and which now cost much more of my time than I like. Meanwhile I hope that the second time this expenditure of time will be much less, otherwise I would never be able to reconcile myself to it, even practical (astronomical) work must give far more satisfaction than if one brings up to B a couple more mediocre heads which otherwise would have stopped at A.
Reservoir Dogs is a small film, and part of its charm was that it was a small film. I'd probably make it for $3 million now so I'd have more breathing room.
I've never tried to reach a certain demographic of an audience or try to say: OK, now I'm going to do this type of film to transition myself into more adult roles. Or a romantic hero. Or whatever it may be.
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