A Quote by George Lucas
Learning to make films is very easy. Learning what to make films about is very hard.
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Learning to make films is very easy. Learning what to make films about is very hard. What you’ve really got to do is focus on learning as much about life, and about various aspects of it first.
What I want to do is make films that astonish people, that astound people, and I hope you want to do that too. It's easy to make money. It's easy to make films like everybody else. But to make films that explode like grenades in people's heads and leave shrapnel for the rest of their lives is a very important thing. That's what the great filmmakers did for me. I've got images from Fellini, from Bergman, from Kurowsawa, from Bunuel, all stuck in my brain.
It's really a great luxury to have, to be able to go from big films to indie films, too. Because I'm on the job learning as an actor, and independent films is where I'm learning to act.
You can't expect to connect with everybody, and that's all right. The more I make films, I'm learning that you don't have to make films for everybody. A film can be made for a smaller group of people than that, and it still warrants an existence.
I can't always be making 'British films.' Why should we be making films about corsets and horses and girls learning to drive when Americans send over an event movie and make five or 10 million?
I can't always be making "British films". Why should we be making films about corsets and horses and girls learning to drive when Americans send over an event movie and make five or 10 million?
Anyone can buy CG technology. It's not that it's easy to make those films. Those films are just as difficult, they're incredibly hard to make.
I'm not trying to be self-serving, but you know, you get to Hollywood, and if you want to make something big and loud and dumb, it's pretty easy. It's very hard to go down there and make a film like 'Sideways,' which I thought was a great film. They don't want to make films like that anymore, even though that film was very successful.
To be honest, I make very controversial films. The films that I've made have been very, very bold choices.
I'm in the process of working out an arrangement to make some very, very, very small films in the midst of all these films and maybe that will help. But you get tired of talking. You just want to do it.
If you want to show cinema, make entertainment films. Sometimes they are very good, sometimes very bad, but the intention is always to make entertaining films.
There's very few people who want to just make beautiful films that make money, when they can make films that make huge money.
There's very few people who want to just make beautiful films that make money when they can make films that make huge money.
It seemed to work on camera. And there's very few films - because you make a lot of films and you meet people and you work very intensely and intimately and then you're gone - but there's a few where you actually make friends, and this [The Fall] was one.
The biggest misconception about me and my work is that I only make political films denouncing human-rights atrocities, even though all of my films are about people fighting for their rights and their quest for justice. My films aren't depressing, are very human, and always offer a way forward.
If we make films only for the frontbenchers, we can't make money. Hence, we have to make it for a majority audience. As my films are mass films, I deal with emotions in raw form - they are not subtle. I don't mind being branded. That does not mean I like only those kinds of films.
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