A Quote by Jiang Wen
Many filmmakers have had that experience. They make a movie, then out of nowhere, they either pass censorship or fail.
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The movie studios, they only like to make - I make a joke, but it's true - if the movie has the word "man" and a number in the title, they'll make it. If it doesn't have that, it's an R-rated raunchy comedy, and that's it. Any other movie that you're going to make is going to be an independent one. So for filmmakers who want to do something other than "man" and a number, it's either independent films or television, which is like the place for real creative filmmakers to go.
I love independent films because I love to help, I love to assist, I love to pass along knowledge or experience to young filmmakers because usually, that's what they are. They're young filmmakers who are trying to either just simply tell their stories or trying to break into show business, and this is their calling card. But either way, I just really respect young filmmakers who are trying to tell a story that means something to them.
I think that if we really want to break it down, that non-black filmmakers have had many, many years and many, many opportunities to tell many, many stories about themselves, and black filmmakers have not had as many years, as many opportunities, as many films to explore the nuances of our reality.
I had seen "Force Majeure" and I just love that movie so much. And I really wanted to artistically give a little hello to the filmmakers, and that kind of back and forth dialogue between artists that say, "I loved your movie. I was influenced by your movie. If I didn't have this job, I wouldn't be thinking of that. Do my TV show and then one day I'll make a movie where I can play with some of the visual themes in "Force Majeure."
For him it was a dark passage which led to nowhere, then to nowhere, then again to nowhere, once again to nowhere, always and forever to nowhere, heavy on the elbows in the earth to nowhere, dark, never any end to nowhere, hung on all time always to unknowing nowhere, this time and again for always to nowhere, now not to be borne once again always and to nowhere, now beyond all bearing up, up, up and into nowhere, suddenly, scaldingly, holdingly all nowhere gone and time absolutely still and they were both there, time having stopped and he felt the earth move out and away from under them.
When I did 'Mimic,' it was such a difficult experience to try to make. Believe it or not, I did try to make a really adult giant bug movie. And then, in the course of the process, it kind of died a horrible death and gave birth to the movie that exists now, which now, in retrospect, I like. But it's not the movie I set out to do.
I know that many writers have had to write under censorship and yet produced good novels; for instance, Cervantes wrote Don Quixote under Catholic censorship.
Sports has always been a pass-through. You pay for something, and then you pass it through to television, you pass it through to advertisers, or you pass it through to season-ticket holders, luxury boxes and then the fans. Then it all adds up, and you take in more than you pass out.
We have this sort of tacit censorship, which is the ratings system, and it's directly tied to box office, so it is censorship. Like, if you make an R-rated movie, you know that only a certain amount of people are going to go see it under any circumstance.
It's very funny because every time I make a movie, and I've heard this re-echoed by other filmmakers and actors I have worked with, you kind of feel like you're naked again. You have to figure it all out from scratch, as if you had never done it before.
Some filmmakers, you know, have their style and then they kind of go looking for the movie. I'm not like that. I don't have one style that I want to take from movie to movie.
A counter-attack can only arise when you make a mistake. That's why there are rules. A horizontal pass? Prohibited. In my line-up there are as many lines as possible. Because you must have the option to pass the ball forward, even if it's a meter. Because then I can still make up for the loss of possession. After a horizontal pass this is impossible.
You know, I feel like my job is to write a book. Then filmmakers come and they make a movie. And they're two really different art forms.
Sure, 'An Inconvenient Truth' was my first documentary. What a wonderful experience. I saw Al Gore doing his slideshow presentation, and had this nutty idea that we had to make a movie out of it.
I'm 48. For a while after 'The Jerk' (movie) I had a feeling of failure. I was a little scared. First people discover you and they love you. You get big and then you fail. And people are glad that you fail. But I've always come back and I've started to trust myself.
When I make a movie, I just make the movie. I don't think about the success of it. If it becomes successful, that's an amazing treat. If it doesn't, you had a great time making it and you learned from it, and then you make a new thing.
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