A Quote by Jean-Luc Godard
We were for Mao, but when we saw the films he was making, they were bad. So we understood that there was necessarily something wrong with what he was saying.
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I was turning up at sets where inexperienced people were making these badly written films - but they were doing it; that was the point. They were getting their films out there. And they were paying me, so they obviously had access to money. I just thought, 'I can make something better than this.'
Films are a very tangible thing. It's making something with your hands. I think all of these guys - Roger and the whole cast of this movie - what they did was they were willing to make mistakes. They were willing to make movies that were really bad. But they learned.
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.
We wanted to not necessarily tell the story of the video or the song, but create an ambience. And I think now, I think that's gone now. There's nothing wrong with that. But I think we were all trying to make mini feature films. I remember when we were making the Duran videos, I would crop the top and bottom of the screen with black. So that it looked more like cinema.
Religion was used as an ideology, as a system of control. When they forced the veil upon women, they were using it as an instrument of control in the same way that in Mao's China people were wearing Mao jackets and women were not supposed to wear any makeup.
In the past there were too many portraits of Chairman Mao in China. They were hung everywhere. That was not proper and it didn't really show respect for Chairman Mao.
I saw something in a program on something in Miami, and they were saying, "We've redecorated this building to how it looked over 50 years ago!" And people were going, "No, surely not, no. No one was alive then."
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.
When I stopped making films, they were getting on to the more realistic films and the explicit films and all. They were depicting life as it is, and some of it was unpleasant. I gradually moved away from that.
I saw with so many of the gay couples, they were so devoted to another. I saw so much love. When this hearing was over, I was a changed person in regard to this issue. I felt that I understood what same-sex couples were looking for.
No one saw the recession coming. The UK businesses were solid as a rock, but the issues we had were in Paris, New York and LA. For every pound we were making here we were losing two pounds abroad.
In Hollywood, more often than not, they're making more kind of traditional films, stories that are understood by people. And the entire story is understood. And they become worried if even for one small moment something happens that is not understood by everyone.
Look, we understood we couldn't make it illegal to be young or poor or black in the United States, but we could criminalize their common pleasure. We understood that drugs were not the health problem we were making them out to be, but it was such a perfect issue for the Nixon White House that we couldn't resist it.
What I saw over all that time were so many deals disappearing and producers disappearing, fewer movies getting made, and it just being a bit more difficult. Working with Joel, we were in a bit of a bubble because he was always making things that were working for the studio and that kind of thing. We were always in production on something.
Other writers, producers, and directors of low-budget films would often put down the film they were making, saying it was just something to make money with. I never felt that. If I took the assignment, I'd give it my best shot.
I love racers from that early vintage antique era of the 1950s. There's just something about them. It's the last romantic epoch of car-making. They were not efficient, necessarily. They were put together with intuition and enthusiasm, not with a formula. That's as technical as I'll get.
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