A Quote by Jean-Jacques Annaud
The financing of my films has always been international.
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My films are doing well in Polish cinemas, so I don't really have problems financing them, and my international accolades are helpful.
Korean films have always been distributed to international audiences as arthouse films.
I've always been interested in showing our films to international audiences. The easiest way is through the festival circuit, a big marketing platform for films that aren't big enough to be in the mainstream race.
You know, independent films have been institutionalized, practically. Every studio has got a boutique arthouse label. There's like, 18 different independent film-financing funds. In fact, I think the children of those films are getting made. A more interesting question is whether those films are going to get seen and appreciated.
Films have been my only passion in life. I have always been proud of making films and will continue taking pride in all my films. I have never made a movie I have not believed in. However, though I love all my films, one tends to get attached to films that do well. But I do not have any regrets about making films that did not really do well at the box office.
Tokyo is wonderful for distribution of international films, a lot of Iranian films, Taiwanese films. But most of the art films are from Europe and Asia.
I was lucky to work with Gamechanger Films, who are a consortium of investors financing films directed by women. This is a company that puts their money where their mouth is.
I've always been into films. I've been offered lots of films but they've always been these very stereotypical roles. They wanted me to play some gangster or street guy, or pimp, drug addict.
There is a production and distribution pact, so they help with the production financing and take international territories and do international distribution and marketing.
I've been a strong supporter of public financing my whole career. I'm the first guy to introduce a public financing bill to the United States Senate in 1973.
You've got these big studio films and these tiny independent films now. It's very much either/or. With the independent films, it's always a beautiful risk - it might never be seen. With the studio films, you're conforming to the formula of what's always been in place.
I've always been fascinated by horror films and genre films. And horror films harbored a fascination for me and always have been something I've wanted to watch and wanted to make.
In the U.K., we have always had international ambitions and international responsibilities. These obviously predate the E.U.; we have been trading and doing business in Europe for centuries.
By cutting off Hezbollah's lifelines to international financing, we can break its cycle of violence around the world.
Free time keeps me going. It's just something that's always been a part of my life. I was originally a painter, and I made films sort of as an extension of that, and then I started to try to make dramatic films because the early films were experimental films.
To have a healthy culture, you have to have stable health care financing and stable arts financing and stable sports financing, and if you don't have that, your culture becomes a parking lot.
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