A Quote by Jacqueline Bisset
I had no aspirations to be part of American cinema... I was really a Europe-based person, and those were the films I was inspired by.
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American films are the best films. This is a fact. Cinema is - along with Jazz - the great American art form. And cinema in a very real sense created the American identity that has been exported around the world.
I was inspired by Maya Deren because she was the first woman filmmaker whose films I saw. I also loved Fellini and Goddard because they were so different from Hollywood films. But when I saw the cinema verite films that were made by Drew Associates with Leacock and Pennebaker I found my passion.
I could never be Charlie Chaplin. But the films that were made by people like him, or Gene Wilder, or John Candy, the people that inspired me so much were the people that were able to combine humor with heartbreak so beautifully and fluidly. Those films I think were what inspired me to want to come to L.A. and audition for movies.
When I first envisioned 'Funny Games' in the mid-1990s, it was my intention to have an American audience watch the movie. It is a reaction to a certain American cinema, its violence, its naivety, the way American cinema toys with human beings. In many American films, violence is made consumable.
I think Hollywood has gone in a disastrous path. It's terrible. The years of cinema that were great were the '30s, '40s, not so much the '50s...but then the foreign films took over and it was a great age of cinema as American directors were influenced by them and that fueled the '50s and '60s and '70s.
Well, I think by and large, certainly in terms of cinema, American culture dominates our cinema, mainly in the films that are shown in the multiplexes but also in the way that it has a magnetic effect on British films.
My earliest memories of horror are 'Friday the 13th Part 2,' John Carpenter's 'The Thing,' 'Halloween,' 'An American Werewolf in London,' and 'A Nightmare On Elm Street'... and 'Hatchet' is so obviously inspired by those films that I may as well have made it in 1984.
In the early '90s, when those little art films started coming out, we were introduced to Quentin Tarantino and guys like that, and independent cinema was something that everyone wanted to be a part of.
The American farmer, whose holdings were not so extensive as those of the grandee nor so tiny as those of the peasant, whose psychology was Protestant and bourgeois, and whose politics were petty-capitalist rather than traditionalist, had no reason to share the social outlook of the rural classes of Europe. In Europe land was limited and dear, while labor was abundant and relatively cheap; in America the ratio between land and labor was inverted.
The third line of cinema today is neither art nor commercial but categorized as good and bad cinema. I think two films - 'Main, Meri patni aur Who' and 'Main Madhuri Dixit Banna Chahti Hoon' were the base films for this new line of cinema.
My production company wasn't doing well, so we were not producing films. Over a period of time, we have realized that we are going to produce our own films and make cinema that we like. We've got so much in-house talent, and my kids are going to be coming, so we all decided that we are going to be in films and cinema.
There were a lot of people dreaming about making films, and they would finance maybe 6 films a year. Because they were funded by the government, the films sort-of had to deal with serious social issues - and, as a result, nobody went to see those films.
I had done student films for the School Of Visual Arts and for NYU and all these schools in New York, so those were my first film experiences, but they were student films, so I guess they don't really count.
I'm a big fan of silent cinema and I think that before I got into the canon of European arthouse cinema, the first interesting films I liked as a kid were German expressionist silent films.
In the 1980s, I had a lot of films, documentaries for television, which were about why the trade unions had failed to organize resistance to Margaret Thatcher's plans. And they were banned. I had to fight for those films.
Because I was a kid from north of England, the only films I had access to was not alternative cinema, which in those days would be foreign cinema; I would be looking at all the Hollywood movies that arrived at my High Street.
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