A Quote by Ginevra Elkann
I want to make films with a broad scope; produced in Italy but looking at the world.
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But Italy is not an intellectual country. On the subway in Tokyo everybody reads. In Italy, they don't. Don't evaluate Italy from the fact that it produced Raphael and Michelangelo.
I know we've had AI films, but they've been quite specific in their scope. The scope of 'Humans' is a world set up where this technology is universally accepted. I haven't seen anything that's dealt with it in that multi-layered, every-layer-of-society way.
I love Pixar films; I think they're the greatest filmmakers in the world. I love Disney films. 'Tangled,' was great. I loved 'How to Train Your Dragon,' the Dreamworks film. But it's not for me. I don't want to make a film for families; I want to make adult films.
At this moment, everyone is in crisis, not only in Italy but all over Europe. Only in America do they make films that are successful all over the world. In Europe, production is quite poor. We have three or four or five films, which is not enough.
You can't watch 'Daredevil' or 'Jessica Jones' or the Marvel films and not be aware that the villain has to be awesome. I've always wanted to have more space. And the scope, morally, is more broad for the villain than the hero.
I'm a filmmaker; I want to make films. I don't want to sit in a hotel room waiting to make films, and I can control my thing in Denmark; I can make the film I want to make... of course, I have to write a good script, all that, but if I do my job, it will happen.
I'm interested in machines that make you aware of the process of seeing and aware of what you do when you construct the world by looking. This is interesting in itself, but more as a broad-based metaphor for how we understand the world.
I want make more records with my sister. I want to go on the road. I want to tour around the world. I want to continue to make great films and work with incredible directors that I respect and look up to.
One of the head guys at Disney categorically said to me, 'We don't want to make children's films any more. We want to make films that are going to appeal to all quadrants.' Hence you have films like 'Shrek' and all the Pixar stuff, which is designed to suit everybody.
I love films where I'm looking around the world a little different now that I've seen that. I want something that nourishes my view of the world.
I didn't want to make teenage comedies, and I didn't want to make really trashy films. I wanted to make films that were a bit challenging.
I'm not particularly interested in working with movie stars. It depends on where you come from, I suppose. Why are you making films? The reason I want make films is because they convey ideas. I think some directors make films because they want to hang out with movie stars and be part of Hollywood. They want to be a star themselves.
Even today, I'm not sure why I make films or what makes me want films. I think it's other people's films. Whenever I see a really great film, I think, 'I want to make a film like that.' And then I never do.
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.
My partner, Beth Alexander, and I want to produce smaller films, but commercially viable films that will enable me to make the kinds of movies I want to make.
When I was a kid, I wasn't looking at the small-budget films myself. I was looking at 'James Bond' and all the major films, so I still have that energy. I still love those films.
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