A Quote by Edward Zwick
Ironically, it's easier to raise the money to make the film than it is to have the film find wide distribution.
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If you look at film, distribution is pre-bought. If you've paid for the distribution, you say, 'I have to make sure it's a film that gets enough butts in the seats.' I think that's the problem: It becomes prohibitively expensive, and you can't develop films for a smaller amount of money.
I think the situation in Toronto is such that there are funding organizations which make it easy for a film to raise more money than it needs and very often that works against a film.
Artists make their work to be seen by others. Well, really we do it to please ourselves, but whatever your art is, you want it to be seen by an audience. In theory, especially in the independent world, ironically, you do stand a chance of making a bit of money if the film gets distribution.
The thing that fascinates me is that the way I came to film and television is extinct. Then there were gatekeepers, it was prohibitively expensive to make a film, to be a director you had to be an entrepreneur to raise money.
It's much easier to make a Superman or Batman film than a Green Lantern film.
To find money to make a film, you have to write maybe 50 pages to explain what you'd like to do, what the film will be, but everybody lies. Because he doesn't know what the film will be. Everybody writes 50 pages and sends it to a TV channel, a producer, to get money, but everybody lies. Or else your film is not interesting.
It's hard to make a film in Britain. It's hard to raise money. The best stuff that is shot on film in Britain is usually shot on film for television.
When I started, every film got a full theatrical distribution. Today, almost no low budget films, maybe two or three a year, will get a full theatrical distribution. We've been frozen out of that, which means they must be aware that for a full theatrical distribution it either has to be something like Saw or some exploitation film of today or an extremely well made personal film.
When the small independent film, which depends on its artistic appeal rather than wide commercial distribution by an MPAA member, is now denied access, the playing field becomes unfair and uneven.
A film like 'Good Night And Good Luck,' you make that for $7 million because you know it's a black-and-white film, and it's not an easy sell. If you make it for $7 million, then everybody can have a chance to make a little bit of money, and you get to make the film you want to make.
My best film is always my next film. I couldn't make Chungking Express now, because of the way I live and drink I've forgotten how I did it. I don't believe in film school or film theory. Just try and get in there and make the bloody film, do good work and be with people you love.
I find that male directors are more interested in what the film looks like as opposed to what the film is about emotionally. My job is not to make the film look pretty, and I don't feel drawn to making myself look pretty within the film.
It's easier to go from theatre to film than the other way round. In film you're absolutely loved and cossetted and cared for. In film your director makes your performance. In theatre you're carrying it all.
I had to trick people into giving me money for my first film. Making a romantic comedy is easier and more expected from a woman than it is to make a drama about a Japanese warrior.
There's something different about an indie film than a TV show that has a huge infrastructure that's in place already for you - at least financially and in terms of distribution. Whereas an indie film is just a total dare.
I could have made a small film and kept all the money from 'Life is Beautiful'. Instead, I spent more money than I had on 'Pinocchio', a very risky film.
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