A Quote by John Frankenheimer
It's very eclectic, the way one chooses subjects in the movie business, especially in the commercial movie business. You need to develop material yourself or material is presented to you as an assignment to direct.
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I've never tried to make a movie to pay an overhead. We're in a very creative business, and I want to make movies because I enjoy that movie or that material.
I've consciously taken on material that's a bit too much for me but not an overreach. The first movie, just about performances. 'The Town,' I learned how to work broader material, develop tension, direct bigger scenes, action sequences. 'Argo,' I experimented with film stock, widened the scope of my geography.
I don't think that Slaughterhouse-Five was successful movie material. In fact, Vonnegut's books mostly I don't feel are movie material.
You get to use everything you learned in movie business. You talk to actors, if you do it right - and I haven't always done it right - you should be shaping the material all the time. And the other thing is, you get all the blame when you direct and it doesn't work. You get slammed. So that's another reason to know what you're making, why you're making it, and make it the way you want.
The movie business is not about the money. Of course, you need money to make the movie. If you have a small budget, adapt yourself. Having $200 million dollars doesn't ensure that you're definitely going to make a good movie. There's so many examples that prove that.
The theater business has allowed me, in a way the movie and TV business has not, to do very, very interesting work. So that's what I do.
Movie studios aren't making too many dramas anymore; they're in the superhero business. Material for television is much, much stronger for actors now.
Rome is magic, it's like being in Hollywood. But the difference between Hollywood and Rome is that here you don't have just the movie business. The movie business is so little, so you also have the choice to hang out with people who do different kinds of business.
The music business is rougher than the movie business. In film you get noticed in a small role, even in a movie that bombs. But in records you better have that hit or else it's 'See you later.'
When the first movie to show the anger people have about the war is a grade Z zombie movie, that tells you all you need to know about how afraid of ruffling anyone's feathers people in the movie business are today.
The movie business has been in enormous flux. It's always changing, and you've got to scramble. The Internet came along and devoured the DVD backend of the movie business. Suddenly you're watching dollars turn into nickels, and that's interesting to me.
Material comes all kinds of ways, and it's never a question of a lack of material or a lack of projects - I have tons of projects. The issue is to convince someone to give you the money. And it's a very different business than it was just 8 years ago.
The true poet has no choice of material. The material plainly chooses him, not he it.
The movie business is very difficult but the music business is just impossible. So I'll play in bands and record and play songs with other people, but for me it's a form of expression that all I need is me. I don't need cameras or agents, I can just have a piano and sing and feel totally verified.
My opinion is that the movie business should show an accurate picture, but I think the responsibility lies in the educational system. Most of the educational material I've seen on the Native American does not portray an actual picture.
I found that the quality of TV material that came to me was so great and was just often better than the film material I got. And when I find a good movie that I really like, I jump on it because it's exciting to do.
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