A Quote by Florence Pugh
That, for me, actually is the most important thing about doing a period film is trying to make these people as lovable as they are back then.
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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.
If for you the most important thing is to make a lot of money, then you don't want to take a certain type of risk. If, on another hand, the most important thing to you is to make people around you have a more fulfilled life, then there is a different set of things that are important to you. Unless you really know that about yourself, you will never be able to appropriately assess risk.
When I made my first film, I think the thing was probably helped me the most was that it was such an unusual thing to do in the early 50s for someone who actually go and make a film. People thought it was impossible. It really is terribly easy. All anybody needs is a camera, a tape recorder, and some imagination.
The most important thing for Quentin and the most important thing for me is to make the best film possible.
The parts of people that are the most lovable is usually the thing they're least willing to share: the tender, vulnerable side of people that's endearing and magnetic and lovable - that's the part they hide.
See, the first thing about actors is, you're just trying to get a job; and you audition and audition and you finally get them. And you still consider yourself an auditioning actor. I auditioned for One Fine Day, I wasn't offered that. So you're still in that 'Hey, I'm just trying to get a job' thing. Then, you get to the point where, if you decide to do it, then they'll make the film. That's a different kind of responsibility, and it usually takes a couple of films to catch up. And then you have to actually pay attention to the kind of films that you're making.
People ask 'How does doing a film compare to doing an ad?' Well, when you're doing a commercial you don't have to sell tickets. You have a captured audience. Which is actually completely rare and great; it gives you a lot of freedom. When you make a film, you have to do advertisements for the film.
There was a period that black film had no chance of making it in Hollywood. So, people just made the made the statements that they wanted to make. Whether it was a science fiction film or whatever, b/c they were just making movie for themselves. Then there was a period where people were creating projects as their Hollywood audition 'pieces'. I feel that today we are moving back to the era where we all have our own voices.
The great thing about doing a play is you get this rehearsal period, which you don't get with most film and television roles.
There are things that make me excited about what I'm doing: Trouble the Water [the 2008 documentary Glover executive produced] on New Orleans, or something like Soundtrack for a Revolution, about the power of the music of the civil rights movement [which he executive produced in 2009]. Or Bamako, about the African debt crisis, a platform to discuss the experience of people who actually live it. All of these are important ways we can use film as a forum inviting people into a dialogue.
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?
And doing a film in that period, and having to really celebrate what they wore back then, how they sat and how they spoke. You know, what the etiquette was back then for a lady. All of those things are like putting on a wig and transforming yourself, which I love.
I actually thought that it would be a little confusing during the same period of your life to be in one meeting when you're trying to make money, and then go to another meeting where you're giving it away. I mean is it gonna erode your ability, you know, to make money? Are you gonna somehow get confused about what you're trying to do?
The question I ask myself like almost every day is: ‘Am I doing the most important thing I could be doing?' Unless I feel like I’m working on the most important problem that I can help with, then I’m not going to feel good about how I’m spending my time. And that’s what this company is.
I'm very attracted to directors who want to experiment. The thing that attracts me the most are people who are trying find a language that is correct for their film, for that specific film.
The most important thing is to allow gaps and openings for people to make up their own minds - I don't want my film to be pretending to have one important truth to tell anyone.
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