A Quote by Frederick Lenz
I have found in the world of film many movies including Beyond Rangoon, The Crow, Gandhi, Doctor Zhivago, and The Big Blue, a French film, convey similar understandings. I'm sure the list is endless. These are just a few of my favorites.
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The film The Conquest will be seen on many different levels and the American point of view is always more technical. The French are less technical - it's 'I like it, or I don't like it.' I hope that this film can have a life in the U.S. - it's the grand country of cinema. I grew up with Hollywood movies, so for a French director to have a film distributed in the U.S. is a real opportunity.
I taught a master class in film in France, and that was a great experience because I got a chance to study the French film culture and the French film history, so to add... just to expand myself just personally and professionally was really helpful.
Filmmaking involves a lot of passion, hard work, thought process and money. But 'Gandhi My Father' is a selfless film, a film made with complete selflessness. We all went beyond ourselves.
I think that what people abroad want from French film, inside French film becomes our worst fear, "Oh, another film about love!"
African films should be thought of as offering as many different points of view as the film of any other different continent. Nobody would say that French film is all European film, or Italian film is all European film. And in the same way that those places have different filmmakers that speak to different issues, all the countries in Africa have that too.
Independent film is such a huge deal in the UK. There aren't many big budget studio movies that get greenlit at all. The indie film industy is a great opportunity that I'm trying to seize.
Some of the films that I have really enjoyed include: The Fifth Element, The Crow, Toys, Seven, Forrest Gump, The Lion King, 12 Monkeys, Doctor Zhivago, Being There, and Trainspotting.
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.
I never thought of what I was doing as a way to sell the NFL. I was making movies about a sport that I loved, about players and coaches that I respected. I wanted to convey my love of the game through film. And most artists convey their love through art. And my art and my love was expressed through film.
I'm ready for all forms of dialogue about the film The Conquest. There will be a lot of political talk, but I don't think the film itself will be scandalous. For the French, there are so many emotions relating to Sarkozy and politicians in general that I think the film will generate a lot of passion, whether it be negative or positive. Above all, it's a fictional film. It was important not to make a documentary and to really pay attention to the images. From the choice of the actors to the mise en scene, the film is completely cinematographic. It's not just a boring political movie.
When critics or people judge, I think it's harder to make a commercial, pop movie than it is to make a pretentious art film. It's harder to reach millions of people and satisfy them and make them happy. These films kind of get ghettoized, this genre because there are so many big, big movies that are such big hits, but aren't any good. The audiences, they're not judging the style of the director, or the execution of the film. They're just looking to be entertained. They want to escape from their reality, and that's why we make movies, to get people to escape from the realities.
I have a wish list for 'Awwal.' I want to work with Ajay Devgn. I need an entertainer, a big star as this is a big film. I feel Ajay will be suitable for the film. He can seriously carry a comic role.
I look up and go, 'I'm living in the world I visualized a long time ago.' From making movies, to the Film Society, to just being in a film world. It's a life that I wanted to inhabit. I think everyone has the opportunity to do that in this world - it's just, are you gonna work for it, and how much does it mean to you?
Sony could have $50 million and a sound stage and A-list actors and never make the same film. The constraints on this film became the essence of this film, became the power of this film.
My film is in French. It's not something folkloric. It's who we are. There's this tension about immigrants coming in. Will they learn French? Will they adapt? In this film, I'm on the reverse side because Monsieur Lazhar comes from a society where French is also the second language.
There are a number of parallels between the slums of Brazil and those found in my hometown, Karachi. The dichotomy that exists in Brazil is uncannily similar to that found in Pakistan, and I hope to one day make a film that follows similar themes.
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