A Quote by John Schneider
A financial shift happened with 'Facing the Giants' and 'Fireproof,' where movies that were faith-based films were profitable. And people in Hollywood - like people in downtown U.S.A. - are out to make money.
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Nothing communicates with the people who make real decisions in Hollywood like spending your own money and showing that you can make profitable films.
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.'
Segregation was ugly but we made something good out of something ugly. Since we were not welcome in other places run by White people, we were forced by circumstances to let our dollars circulate in our own communities. When you were young and I was young, there was a plethora of Black businesses. But when White folks said, "yes, come and spend your money with us," we ran downtown when we could only pass through downtown. Now downtown has our money.
Ricky Morton and Robert Gibson were not giants, they were giants in the ring, they drew money, people loved them and that's what you find in the Young Bucks.
I could never be Charlie Chaplin. But the films that were made by people like him, or Gene Wilder, or John Candy, the people that inspired me so much were the people that were able to combine humor with heartbreak so beautifully and fluidly. Those films I think were what inspired me to want to come to L.A. and audition for movies.
Richard Donner made great movies. Seminal movies. The Academy, though, and we have to be careful here, should recognize popular films. Popular films are what make it all work. There was a time when popular movies were commercial movies, and they were good movies, and they had to be good movies. There was no segregation between good independent films and popular movies.
We were film geeks. We devoured everything: really obscure art films, foreign films. We were the kind of guys that lived at the Cinematheque. But at the end of the day, your favorite movies are like everybody else's favorite movies. Because those are the movies that become a touch point where you can connect to other people.
Our company, it's, uh, really un-sexy. And I think most people get into Hollywood to be showy. We first of all make horror movies, which people turn their noses up at. Second of all, we make cheap movies, and Hollywood's a lot about ego and money and, 'My movie cost $200m!,' you know?
People think that the people in Hollywood have some master plan. They just make the movies that people go to see. I think it's that simple. I promise you if people were lining up around the block to see a Bible movie, they'd make Bible movies from now to the end of time.
I don't know if any of you feel this way, but it's like eventually, you see a woman come on screen and you go, "Oh, thank God!" You just sort of need a break from all this testosterone, which happened, I think, in one of my films, The Hurt Locker. I was in it for like five minutes, and people were like, "You were in that movie!" And I was like, "Well, kind of." And they were like, "No, you were!" 'Cause they needed a woman!
We were from downtown, so we were rapping in Danceteria, in these white downtown clubs, really. Nobody downtown was rapping. Nobody we knew was rapping. So we were like, 'We should do it.' We weren't making fun of it; we loved it, and we wanted to be part of it.
As music became more profitable in the 1990s, it seemed like it attracted a lot of people who were just interested in the financial aspect of it, which is depressing.
There were Hollywood movies and then there were those aggressively anti-narrative films that they showed at the Collective for Living Cinema.
You can look at what's happened to America in the last years and say a lot of people were asleep. A lot of people were not staying awake and watching what was going on and facing the pain of that and dealing with it.I don't care if the rest of the audience doesn't think along those lines at all, because the audience is a huge spectrum of people, from people who are introspective to people who just want to be scared and have fun, and all the points in between.
I don't care about Hollywood films. I'm not against Hollywood films, you know? Hollywood films were very good before, in the 1950s.
That was the division in the hacking world: There were people who were exploring it and the people who were trying to make money from it. And, generally, you stayed away from anyone who was trying to make money from it.
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