A Quote by John Hurt
I turn up in Los Angeles every now and then, so I can get some big money films in order to finance my smaller money films.
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It's gotten out of control. It's taking bigger and bigger names to make smaller and smaller films. I worry that important films without a big name attached won't get made at all.
I gladly, I voluntarily gave up the kind of commercial film career I had going as soon as I had enough money to finance my own films. I didn't make that money necessarily from the film business, but I eventually made a lot of money and that's what I do. Of course, I consider myself unbelievably fortunate, and I'm pretty content with my life.
If I could get myself to a place where I felt secure and I wouldn't have to kind of worry about money and I know my family would be secure, then I would leave the big studios so I could continue to make smaller films, and hopefully get to direct a few of them, too.
To walk in money through the night crowd, protected by money, lulled by money, dulled by money, the crowd itself a money, the breath money, no least single object anywhere that is not money. Money, money everywhere and still not enough! And then no money, or a little money, or less money, or more money but money always money. and if you have money, or you don't have money, it is the money that counts, and money makes money, but what makes money make money?
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.
I definitely understood the feeling of moving to Los Angeles and having a dream to be an actor in films and to get to be a part of things that I loved and inspire people in some way.
I am choosing films only to entertain people, but at the same time, if someone is putting their money into my films, I want that person to make money.
Of course, there's always one theater that shows some kind of European film. Now, fortunately, you have DVDs, so it's possible to get anything you want within a few hours. In those days, it was virtually impossible to get Italian films, or German films, or whatever. So I grew up with very standard, mainstream films.
Now that I'm gettin' old enough to get some money, I'd like to have some money. I don't get much made, I need to conquer a big chunk of money. Not quit playin' but quit playin' so hard.
Now that I'm gettin old enough to get some money, I'd like to have some money. I don't get much made, I need to conquer a big chunk of money. Not quit playin but quit playin so hard.
When I started acting in the film industry when I was 16 years old, in 1980, I was going to all the revival theaters in Los Angeles. They were playing mostly films from the '60s and '70s, some from the early '20s and '30s, before that Hays commission. Those films did question things a lot, and there definitely was a switch in 1934. You can see very distinctly in 1934, it's harder to understand what the real culture was. Films made before 1934, you can really kind of see the racism, sexism, drug use, etc. that was going on at that time. And then it was all stopped.
Your generosity is reflected in what you do with your own money, not in what you do with other people's money. If I give a lot of money to charity, then I am generous. If you give a smaller fraction of your money to charity, then you are less generous. But if you want to tax me in order to give my money to charity, that does not make you generous.
In Australia, they set up a special fund to kick films off. It was quite an enlightened sort of move. You could go to this government bureau with scripts and and get finance for films.
At some point in time, in the future, people are going to refer to the Step Up films as the films they grew up on. Hopefully, that inspires them to get in dance films that are being made.
The problem is some of our riskier films just don't make as much money. But if you only make films that will just be commercially successful, then you can also sink yourself as a studio.
Filmmakers need to give the audience that something extra, an incentive to spend money and go to the multiplex - the ticket prices are high. Otherwise they'd just stay home, buy DVDs or download movies. But if there were only big budget movies it would be impossible for the film industry to survive. So I emphasize the importance of mid-range films. But those films need the support of theatre owners. The theatre chains have to have the vision to realize the need to support smaller films for the growth of the domestic film industry.
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