A Quote by Eric Fellner
The problem with Hot Fuzz and Shaun of the Dead is that they worked brilliantly in the UK, the US, and Australia; internationally they haven't worked so well because people don't know the films as well as in the English speaking languages. So when it comes to putting the budgets together it's quite challenging. So those are the problems you have.
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I'm very happy with the response for everything I've done, but, you know, sometimes you get things like, 'Oh, 'Spaced' Series One wasn't as good as 'Spaced' Series Two.' Or 'Shaun of the Dead' is not as good as 'Spaced,' or, 'Hot Fuzz' is not as good as 'Shaun.' Or, now, 'The World's End' is not 'Shaun of the Dead.'
We got offers to make sequels to both 'Shaun of the Dead' and 'Hot Fuzz,' and they never really interested us because we like having these endings where it seems very final but could hint at some kind of future adventure that you'll never see.
Even though I didn't write 'Shaun Of The Dead' and 'Hot Fuzz,' I never felt left out of the creative process.
What 'Shaun of the Dead' and 'Hot Fuzz' and 'World's End' do is smuggle a different movie under the guise of a zombie movie or a cop or alien invasion movie. Even though they all have action and carnage, they are really films about growing up and taking responsibility.
Definitely, 'True Detective' was a great example of one director, one story. It worked fantastically well. Well, I thought it worked fantastically well; I know a lot people didn't.
Well the Global Fund, because of how well it's worked on not only AIDS, but also malaria and tuberculosis, I'd say it's well accepted. I mean, it's not politically controversial that this is a great humanitarian effort. But budgets are very very tight.
Well, English is no problem for me because I am actually English. My whole family are English; I was brought up listening to various forms of the English accent. Obviously there are more specific ones that get a little bit tricky. Same with American stuff. But because in Australia we're so inundated with American culture, television, this that and the other, everyone in Australia can do an American accent. It's just second nature.
I've worked with non-professional actors, I've worked with movie stars, I've worked with kids, I've worked with older people, and I've found my job as a director is to cast them well and to understand what they need on set to bring the material to life.
My films are about faith, and they're made on faith. There has to be faith because making a movie, so many things can go wrong. Me and my crew take the leap together, trusting the net will appear. I've been fortunate even though I've worked with small budgets, people have donated time and talent because they feel the films have something important to say.
Americans are the most generous country on the planet. I've worked in Europe, I've worked in Australia. There is no where else where you get absolutely no attitude for being a foreigner. If you do your job well, they embrace you.
We were doing the same thing. We will never have "a" Chicano English or Spanish because of regional differences. But I think that because of our bilingual history, we'll always be speaking a special kind of English and Spanish. What we do have to do is fight for the right to use those two languages in the way that it serves us. Nuevo-mexicanos have done it very well for hundreds of years, inventing words where they don't have them. I think the future of our language is where we claim our bilingualism for its utility.
When I worked with General Electric, again this was soon after the Second World War, you know, I was keeping up with new developments and they showed me a milling machine and this thing worked by punch cards - that's where computers were at that time, and everybody was sort of sheepish about how well this thing worked because in those days machinists were treated as though they were great musicians because they were virtuosos on these machines.
It hasn't been a problem with Ben, I think we worked together very well, we don't have rows.
We would do improvisation together. And that in a way, had almost a "student-film side" where we'd be sitting there with Robert Downey and Jon Favreau and we're playing around, we're jamming around and we read those pages and in next couple of days that's what we do, so it was a good experience. Kind of frightening at first because you didn't quite know how it was going to work out, but they had some very talented people there so it worked out well.
Graham Yost is a genius, and I know that very well because we worked together on 'Band of Brothers' and 'Boomtown.'
'Vanity Fair' did this grid thing a couple years ago, connecting people who've worked together, and I had the most branches on it or whatever, because I'd worked with so-and-so and so-and-so worked with so-and-so, and I was kind of in the middle.
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