Most Chinese filmmakers grew up watching television; they watched films on television, not in cinemas. The scope of their vision is not big enough, they're not yet detail-oriented enough. You have to watch films in cinemas for years to understand the depth and scope of vision needed in filmmaking. Directors in China usually come from an academic background; they graduate as film directors. Whereas the directors from Hong Kong learn their trade on sets, beginning at the lowest rung.
I want to work with directors who can tell intimate stories in a way that feels universal and with a big enough scope and depth to travel outside of Iceland.
Foreign capital to build new cinemas will help modernize China's aging cinema infrastructure, attract Chinese consumers back into cinemas, and increase demand for U.S. films.
I feel I should defer to the writers and the directors because they're the ones who have the complete vision. They see things through from the beginning to the end. I'm responsible for one small part, so my scope is much more limited than theirs.
I feel I should defer to the writers and the directors because theyre the ones who have the complete vision. They see things through from the beginning to the end. Im responsible for one small part, so my scope is much more limited than theirs.
European films were what it was about for me - the sensations I needed, the depth, the storytelling, the characters, the directors, and the freedom that you can't really find in American films.
European films were what it was about for me - the sensations I needed, the depth, the storytelling, the characters, the directors, and the freedom that you can't really find in American films
People think that cartoons are meant to be watched on television and not in cinemas. To get people into cinemas to see animation really boils down to storytelling for the family.
Songs are pretty easy. They are small, they are modular, they are about as big as a bagel. They are easy to build. Films are overwhelming in their magnitude and scope. By comparison, a lot of film directors wish they were writing songs because you can do it while getting your hair cut.
I don't go to a lot of other directors' sets; directors don't come to mine. Directors are all very cordial with each other, but they're not necessarily friendly.
Directly after Rock Hudson's death came the fears that gay writers and actors and directors would be denied jobs; who knew if they would live long enough to finish a feature film or television series? And would the unions force directors to give blood tests and ban actors who tested positive?
It's not that writing staffs don't change at all, but they don't change very much. Directors are freelancers. There are directors who do five or 10 episodes of a show every year for years, but most directors are freelance, they come and go.
I don't think Hollywood makes many good films anymore. How many directors can you really trust to have an artistic vision, not a corporate vision or a watered-down communal one?
I think that what 'Oz' did is it spawned a great generation of television production. But people know its place in television and just in great dramas. It's the foundation of my career. Most producers, show runners, directors, and casting directors put me in movies based on my performance in that show.
I think my function working in China is to bring my experience and what we've gone through in the Hong Kong industry to China. I hope there'll be more and more new Chinese companies with vision, that understand producing and film financing. My plan for the future is to work with as many new companies as possible, to pass on my experience as to what is commercial film.
Television can become a bit of a treadmill for directors. You come in, nobody knows you, the actors are already doing what they're doing, and you're just one of a number of directors who comes in.
I'm very thankful to directors and filmmakers who consider me in their films, and I hope I'm able to do justice to their films.