A Quote by Eric Fellner
For me, I can't tell you if the film is good or bad, all I can say is for me the film is way better than I had expectation of us being able to make. So for me that's the most important thing. Have we exceeded our dream in terms of what it could be?
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My last experience of film-making was Tickets, a three-episode film in Italy, the third of which is directed by myself. It's not for me to judge whether it's a good film or a bad film, but what I could say is that nobody had a cultural or linguistic issue with what was produced.
I don't ask my students to have studied film or any education in general. What I ask them is to come and sit and tell me a story, and the way they choose it and tell it, for me, the best criteria for whether they are right for making films. There's nothing more important than being able to tell your story orally.
My husband is my most ruthless critic... sometimes he will say, 'It's been said better before.' Of course it has. It's all been said better before. If I thought I had to say it better than anybody else, I'd never start. Better or worse is immaterial. The thing is that it has to be said; by me; ontologically. We each have to say it, to say it our own way. Not of our own will, but as it comes out through us. Good or bad, great or little: that isn't what human creation is about. It is that we have to try; to put it down in pigment, or words, or musical notations, or we die.
For me, when I choose a script, I put my heart and soul into it, and that is exactly what I look for in a film. A good film is a good film. And if it's a bad film, irrespective of whether it's made 300 crores or 200 crores or any amount of money, it doesn't matter to me.
First, there has been a lot of interest in The Drive-in, but, alas, it hasn't actually come to fruition. Maybe soon. Don really got Bubba and I didn't think it could be a film. I thought it was too odd to make it to film. He asked me to do the screenplay, but I declined. I didn't see that it could be a screenplay but he wrote one and proved me wrong. He was always considerate about what I thought about the film and the story's presentation, but in the end, he's the director and he had to make decisions. All good ones.
When you're doing a film and the majority of the film is cast black, for me, it's most important to get people to view those movies as just movies, as just good movies. At the end of the day, regardless of the color of the cast, we're all doing the same thing in this business: trying to make a good film.
'ABCD' is an out-and-out dance film. I also dance in the film. I must say you would see better dancers than me in this film. It was very tough for me to match their steps.
I think the film you hear about the most is 'The Exorcist.' When people come up to me and say, 'Oh, you scared me!' I was the good guy in that film!
At least I know that one film-maker in my career has had the initiative to come to me and thought of me as being capable of doing interesting and complicated work, and so I have a new-found belief that other film-makers will see me in a different way, the way that Patty did.
In documentary films, being able to be a storytelling and embrace film as an art form - while being very clearly connected in trying to help make the world a better place - is really important to me.
I want everything to be an honest extension of me. What better way than me talking? It's a direct connection with everyone. With film and television, you make great projects, but stand-up is the thing that is completely yours.
Most young people make films to be accepted, to be discovered, when in fact that was the last idea with the group I went to film school with. To be discovered was not our intention. Our intention was to tell our story our way, and make our own mistakes and learn from film to film.
It used to annoy and frustrate me to have to come in and audition. I would say to my agents, 'Haven't they seen this film and this film and this film? They know what I look like... They must.' Until I directed an episode of 'Roswell.' And all of a sudden, I realized why that was such an important thing.
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.
Working with Bernardo Bertolucci, director of Stealing Beauty was my first experience of being able to communicate with someone whom I'd think of as a mentor, who'd ask me my opinion and trust me, and believe in me and allow me to do the things that I wanted to do. The film itself was also rare in terms of character most of the scripts I've read are the story of some man, and there might be a love interest or a big woman's part.
I think a lot of people go into filmmaking thinking, "How can I make a career?" And so when they make their first film, they make it thinking, "Well, this'll be the one that gets me to the place where I can make the second film the way I want to make it, and that'll get me to the place where I can make $100 million on the third film." And I thought, "Well, if I put sustainability at the bottom of my priority list, then what opportunities is that going to free me up to pursue?" And that's what I've always done.
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