A Quote by Jasmila Zbanic
It was important to feel that you were resisting the fascism around you. But we had no electricity to watch movies. We were imagining our movies.
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I did two movies that were arthouse movies; they were critically successful but made no money at all... but after making those movies, I thought, 'I wouldn't watch my own movies when I was 16, and my buddies where I came from wouldn't watch my movies, because they were boring.'
I always feel, I guess being a product of the movies of the 40s where movies were the greatest things and screens were big and palaces were palaces and stars were larger than life that reality was so much inferior to what we felt was conceivably possible from what we had seen in the movies.
When I was a kid, I was watching the movies my parents wanted to watch. I came from a working class family, not specifically educated, so we were watching popular movies. My dad liked cowboy movies, so we were watching cowboy movies. Some of them were amazing. It’s a genre of movie I like very much.
Richard Donner made great movies. Seminal movies. The Academy, though, and we have to be careful here, should recognize popular films. Popular films are what make it all work. There was a time when popular movies were commercial movies, and they were good movies, and they had to be good movies. There was no segregation between good independent films and popular movies.
The privilege I've had over 15 movies over a very long time has been to make movies that were ambitious or grown-up, complex, that had themes in them that were sometimes political, sometimes challenging, to make these movies on a scale.
Honestly, I had a kid, so you watch the movies your kids want to watch. I'm also a producer, so when I watch movies, I look at them from the genre they are, the budget they had, and the time they had to produce it. That's how I evaluate their success.
The earliest movies that I loved were French movies and Italian movies. I grew up watching those kind of movies and often find the truest looks at human nature - you can find them in another countrys movies.
The earliest movies that I loved were French movies and Italian movies. I grew up watching those kind of movies and often find the truest looks at human nature - you can find them in another country's movies.
My son, he has a film group, a bunch of film nerds that sit around and screen movies, and when they had Mary Steenburgen Night, the two movies they screened were 'Melvin And Howard' and 'Clifford.'
I didn't watch a lot of American television growing up. I just liked to read a lot and watch movies - movies, movies, and more movies. My family used to make fun of me because I'd like every movie I saw.
There were 10 or 15 years where all the Scandinavian movies were gray and light brown. I got really bored with it. I really felt that movies had to have that life of vivid colors.
I grew up loving action movies and films that were set in supernatural, unimaginable places. So I take being a woman in the film industry who is able to do action movies very seriously because I'm making the kind of movies that I wanted to watch as I was a kid and that inspired me and are the reason as to why I am here.
I love to look at The Graduate, or Lawrence of Arabia, or things I had nothing to do with. But you could not get me to go back and watch movies that it was a privilege just to be around them when they were being made.
Economics drive the creative, and for a long time, movies about men were just considered 'movies,' whereas movies about women were considered niche and only appealing to women. This is to an extent still true, and what it does is represent movies about women as less profitable.
I don't know if she should worry too much, I mean some of our greatest writers have had movies made of their books, lots of Hemingway novels were turned into movies, it doesn't hurt the book.
I came to New York, and it was a really cool time. People like Jim Jarmusch and Spike Lee were making their first movies, and they were making movies that were personal narratives.
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