A Quote by Jacques Audiard

If you look at American studios, the big productions have nothing to do with reality. — © Jacques Audiard
If you look at American studios, the big productions have nothing to do with reality.
What I'm known for - 'Game of Thrones,' 'Star Wars' - they film in England, but they're American productions. Because American productions are willing to see Asian actors.
All the interesting films are now being made by their subsidiaries for very low budgets. But the studios are not making money. They're making these big, very expensive pictures that take a lot of money but don't really pay for their costs. So they're having a very difficult time. I can see the system breaking down. I think the American studios are a reflection or a metaphor for American industry altogether, which is failing in the world. Its economic domination is being broken down and I think the same thing is happening to the studios.
Hood films now are made by studios and have nothing to do with the reality they supposedly represent.
I just wish one of the big American studios had bought 'Devdas.' They would have pitched the film for the Oscars in a big way, like Miramax did with the Chinese film 'Hero.'
The notion that big business and big labor and big government can sit down around a table somewhere and work out the direction of the American economy is at complete variance with the reality of where the American economy is headed. I mean, it's like dinosaurs gathering to talk about the evolution of a new generation of mammals.
Television studios bet the farm on reality shows, where they didn't need any actors and movie studios had no plans for any quality movies that required the presence of me.
Modern American cinema seems to me superficial. The intention is to understand a certain reality, and the result is nothing but a photographing of that reality.
I wanted to try every style available to me - large productions, small productions, studio films, low-budget. You just can't sit around and wait for every big-budget film to come along.
I do always feel very proud and flattered by being asked to be a part of American productions playing American characters.
I think they [TV productions] were just kind of drying up. I'd done a couple of episodes, but nothing was happening. So I went to Vancouver to visit a buddy and see what was going on, and that year was crazy. Vancouver was on fire at that point. It was all these Stephen J. Cannell productions - The Commish being one of them - and in one I was a bartender, and I think I had five lines.
Because I don't give the studios advanced quotes or an advanced look at my reviews. I think the readers deserve to read my reviews before the studios do.
In France, we don't yet have the craft that American TV does or big studios like Paramount. It was so cool going through those famous gates when you have your own little pass and picture on it. Woo hoo, I'm going to work!
I've always relied on a big producer and big studios. I had budgets that were ridiculous.
Remember that the past fifty years has been the age of the Big Bang cosmology. We have learnt to see all reality as a slow-motion explosion, as pouring itself out and passing away, as dissemination. We live in a postmodern epoch in which there is nothing absolute, nothing permanent and nothing substantial.
The American War of Independence is the expulsion of the intrusive elements, alien to the American essence. If American reality is the reinvention of itself, whatever is found in any way irreducible or unassimilable is not American.
Basically, the big studios and companies distributing your movie just take a big cut of profit for making posters.
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