A Quote by Frederick Lenz
I have had several offers to make the book into a film. I don't know if the message could be accurately transmitted, and so I have been somewhat hesitant in granting film rights.
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If you sell the film rights to your book, it doesn't mean there will be a film. I have sold the rights to five books and had zero films made. Take the money and be thankful.
I think films are about having a good time, so I don't know that there's a message. The message of a film is always what a critic writes, and the fun of a film or the emotion of a film is what the audience feels.
It's a myth that you'll know the box office result of any film. I don't think anybody can predict a film's fate accurately, otherwise nobody would make unsuccessful or flop films.
'Toofan Singh' is a Punjabi film based on a terrorist. The Pahlaj led CBFC banned the film because according to them the film glorifies terrorism, and that might give a wrong message to today's youth. However, the film has been released in many countries, and has been received warmly. Unfortunately, it never saw the light of day in India.
The thing about film is that your eye is selective. Film isn't. You have to make film do what you want. Simply photographing something doesn't do it. You have to know how to apply light and know what it does on film.
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.
I did so many comedies that we've had numerous discussions about horror of film and I've always been really hesitant to do so because the last thing I wanted to make was a horror movie.
I left film because I felt that photography was my art. It was something I could do on my own, whereas film was so collaborative. I thought as a photographer I could make something that was artistic and that was mine, and I liked that. And it wasn't until I got back into film and I have very small crews and I could do very tiny filmmaking that wasn't 100 people that I still felt that I was making something artistic as a filmmaker. So, you know, I'm an artist, and whether it's photography or film, I want my voice to be there and I think my voice is very strong in this film.
What has always been at the heart of film making was the value of a script. It was really the writer who could make or break a film. But as we all know, the writer has always been at the bottom of the creative heap.
You have very accurately described the difficulty of presenting my books on film: many of my characters are alone most of the time, and when they do talk, what they say is mostly lies. That can make for a pretty confusing film.
I had been getting several Kannada film offers ever since 'Premam.' While a few of them did excited me as the roles I was offered were interesting, I couldn't be a part of them due to my previous and ongoing commitments.
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.
I don't know if there's ever been a female-driven film or a male-driven film. I don't believe in that. I believe a film is a film - a movie can only work if everything about the film works.
Well, the medium of film is so different than a book that just by bringing it into visual storytelling is to change it up. I think in a book, in any book, you can have a reactive character. Some of the great novels of all time have had that, but in a film you can't do that.
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 have gained a lot of confidence in my process of making films. It does't mean I'll make a successful film or even a good film, but I know how to make my film.
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