A Quote by Joely Richardson
OK, I wasn't as successful as, say, Julia Roberts, but I'd spent years in a very respectable career, some big American films but a host of other smaller, really exciting, maybe experimental films, being paid rubbish but working with fine people, that was what I thought I was known for.
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People talk about this Julia Roberts almost like it's a cup of Pepsi. People think Julia Roberts is something they created. The fact is, 26 years ago, there was this scrunched-up little pink baby named Julia Roberts. I am a girl, like anybody else.
Some films really do take years to get going, but I'd say that most of the films I want to do are slightly smaller projects. Some could be sketches. They're not all oil paintings.
There are lots of great movies coming out of the U.S. but it's not something I've ever really been interested in. They're great films but I much prefer the smaller independent films, which are more thought provoking and experimental.
I would say on the other side of the equation that there were really some massive sales and massive enthusiasm for some films that were given big releases. And I'm not really sure that happens in quite the same way, small films getting big releases. Maybe it still does, I don't know.
Yes, you can have art films about the triumph of the human spirit and all of that, but you'll have it done with a big-budget icon with a $20 million salary. You'll have Julia Roberts, you'll have Robert Redford, you'll have Russell Crowe doing those films, because if they're going to cost $90 million, they're going to make that movie for a public that's very large and mainstream. They're not going to make it for three or four million black people.
Maybe I've got to admit that what I did here was enough. I can make some more films. Maybe I'll direct a film. Maybe I'll have my musical put on stage. But nothing, really, to be absolutely honest, competes with making a very successful pop band for 10 years of my life.
I'm in the process of working out an arrangement to make some very, very, very small films in the midst of all these films and maybe that will help. But you get tired of talking. You just want to do it.
If you have a career like mine, which is so identified with Hollywood, with big studios and stars, you wonder if maybe you shouldn't go off and do what the world thinks of as more personal films with lesser-known people. But I think I've fooled everybody. I've made personal films all along. I just made them in another form.
I didn't see films when I was young. I was stupid and naïve. Maybe I wouldn't have made films if I had seen lots of others; maybe it would have stopped me. I started totally free and crazy and innocent. Now I've seen many films, and many beautiful films. And I try to keep a certain level of quality of my films. I don't do commercials, I don't do films pre-prepared by other people, I don't do star system. So I do my own little thing.
Some films I say no to and they end up working very well, but I don't care, I just want to do something exciting.
I feel that so many sci-fi films and films in general have just become really dependent on and addicted to CGI, and that some of the big CGI films of the summer, you see these effects that look like crap. You don't know if you're watching a cartoon or something that's real. And I didn't want to fall into that trap. I really thought there was a way to use a lot of these old techniques to do some new and really neat stuff.
People talk about the difference between working on stage and working on film. I think you could say that there are as many differences between working on low budget films and working on big budget films. You really are doing the same thing, but at the same time you're doing something vastly different as well.
The vampire or the bad guy, that's what people do remember. Lars von Trier, like Guy Maddin, their films are made for a group of exclusive people who like special films. And they are special films, they are art films. And I started with commercial films at the beginning, and later on, because you know, when you are an actor, you have the same cliché like everybody else, you want to be in big films, you want to be known and all that.
I don't know if you've ever seen some of the Sidney Lumet movies, like Dog Day Afternoon [1975] or Network [1976]. They're real events that happen in real time, and there are all of these different characters experiencing the same thing in different parts of the movie ... I am so bad at explaining my films. But it's in the world of finance and the world of media, and how they connect. It was a big undertaking. A big, mainstream movie, which stars Julia Roberts and George Clooney. But for me, it's really just a small story about character and people.
Some films do portray women in their 40s well, and some other films don't. Some films are written by women, so maybe there's a little more accuracy there.
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.
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