A Quote by Isabella Rossellini
My father's films are often very slow for the modern audiences, which are used to a lot of editing. It's the audience that watches the film instead of the director dictating the reaction he wants from you.
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In the olden days films used to become huge hits because of family audiences. But nowadays certain films cater to youth audience and once that is exploited then the film stops. and some films are for a mature audience. My aim is to satisfy all the sections of the audiences.
TV works at such amazing deadlines and the audiences you're catering to is a very different audience than the one that watches films as the attention span is less.
I think that film festivals, we're very often given to understand, are about filmmakers and about films and about the industry of filmmaking. I don't believe that they are, I believe that film festivals are about film audiences, and about giving an audience the encouragement to feel really empowered and to stretch the elastic of their taste.
It's very important that a film that intends to play tricks on the audience... has to play fair with the audience. For me, any time you're going to have a reveal in the film, it's essential that it have been shown to the audience as much as possible. What that means is that some people are going to figure it out very early on. Other people not til the end. Everybody watches the film differently.
I am still very surprised that I managed to make that film [Close Up]. When I actually look back on that film, I really feel that I was not the director but instead just a member of the audience.
I've never watched my films with an everyday audience so it was really crazy to watch people clap at the end of my film - with no one there, no actors, no people from the film. It was just a spontaneous reaction, so I thought that was probably the best compliment you could get from an audience.
I love watching audiences scream. I imagine it's the same joy that a director feels who has made a comedy when he or she is sitting at the back of a theater listening to the audience laugh. That sound of laughter is so sweet to a comedy director and that's exactly how a horror film feels when you hear the audience scream.
There is a sort of creative purity in an independent film, in the passion of the director, the passion of the crew. They're not getting a whole lot of money, so you know they are not there because they want to get rich. Instead, they are there because they want to make a movie. In the bigger films, I remember when I used to do those, it's just a job for a lot of people, so there is less of an intense energy devoted to the whole project.
I've also shot plenty of films with very small audiences - 'The Sun Also Rises.' I love that film, but I didn't capture the imagination of the audience. I don't know why.
Even today, my father watches my films only in the theatre with the general public. And he's very tough. His first call will be to the director and the camera man, and only then will he send me a message.
You start to find a rhythm and usually if it makes me laugh or comment in the editing room then I knew that's what's going to happen in the audience. That first reaction is usually the right reaction.
It is when music is added that a film can come to life for a director. A live orchestra, playing the score as a conductor watches the film on a huge screen, often gives a fimmaker the first real glimpse of his soon-to-be-completed work. That's where the magic is.
An actor is only a part of the film, not the whole, and very often, he is moulded by the director. That is why a good director can make so much difference to a film.
I think subjectivity plays into everything. It's unavoidable; you couldn't avoid it if you tried. I think, potentially, a lot more commercial movies, it seems to be that the people making the films are trying to elicit the same reaction. I think a lot of the most interesting work in art and in films are often kind of polarized opinions and affect people in very different ways, which may be less successful commercially, but they elicit a dialogue that's quite interesting.
[on editing of the films] There is always a question of time, and the director. I've worked with a lot of directors who don't mind my involvement. They appreciated it.
A lot of people are very interested that a Korean director has made a western. But when I look at the reactions of the audience, I realise the points at which people laugh are the same for a Korean audience and an international audience.
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