A Quote by Justin Guarini
The film I think was a good film for what it was designed for. It was for kids. Unfortunately the critics slashed it before it even started but that is just the way the cookie crumbles.
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I'm very troubled when editors oblige their film critics to read the novel before they see the film. Reading the book right before you see the film will almost certainly ruin the film for you.
At the core, I am an actress. And I think, in a way, that's a good thing in that I am, I think, empathetic and sympathetic to the film. I would never pretend to have the discerning and acute critical eye that a lot of the great critics in our business do have. I don't look at it as being a critic or placing a judgment on a film, and I do think, how do you decide which film is best anyway? It's always a little bit of a mixed bag. But, I think it is just a collective group of people coming together to honor the work of an artist - that's how I think of it.
Sometimes the theme of the film is something that comes down to the way you designed the film - that you're saying something about the world. And it's one of the things that I think animation can do, in a way that other forms of filmmaking can't do. Because every single thing you see has got to be designed and created.
When critics love your film, you love critics. When they hate your film, you hate critics. It's the same everywhere, but maybe especially in France, where we have pretty good critics, except for three or four newspapers that are really dogmatic.
I approach every film I do in the same way, whether it's an action film or not an action film. I guess if a certain physicality lends itself to action, but I started acting before I reached puberty. I was 7 years old when I started acting. It wasn't until I became a bouncer in New York.
I think to many people the term 'activist film' implies a film with a single point of view - something designed to provoke outrage and urge action on a particular issue - sort of the film equivalent of a rally. 'If a Tree Falls' is not that kind of film.
I am relatively familiar with getting a good old rumping from the critics. In some cases, the critics just didn't like the film - fair cop. Others, I think, didn't understand it.
My best film is always my next film. I couldn't make Chungking Express now, because of the way I live and drink I've forgotten how I did it. I don't believe in film school or film theory. Just try and get in there and make the bloody film, do good work and be with people you love.
I don't get a chance to cry that often on film, so I was hoping that talent would come my way, that day. I cheated, I guess, when I just started looking at my technology device - my iPhone - to look at pictures of my kids, before I did the scene where I had to cry. That was a good trick that I found.
I went to Oberlin College, and they don't have a film major, but they do have what's called an individual major, where you can sort of pitch to a committee your own course study, and if they approve it, you have essentially just designed your own major. So Oberlin doesn't have a film major; they do have a film minor... And then my spring semester of my junior year, I went off to NYU film school as a visiting student - they have a program for kids from other schools to come in for a semester.
I don't have the story finished and ready when we start work on a film. I usually don't have the time. So the story develops when I start drawing storyboards. I never know where the story will go but I just keeping working on the film as it develops. It's a dangerous way to make an animation film and I would like it to be different, but unfortunately, that's the way I work and everyone else is kind of forced to subject themselves to it.
Before writing a single note of music, and even before the spotting session, I find it best to sit down with the director and just listen to him or her talk about the film - what they're trying to say, what they want the audience to understand or believe, and a thousand other similar questions. The director has most likely been living with the film for years before a composer is attached, and so the director's inclinations, desires, and understanding of the film are paramount.
I've wanted to make a film about French youth since I went to Cannes with my first film 'Kids' in 1995 ... Scribe's screenplay is about French kids today, and the world today. Just like my films 'Kids' and 'Ken Park', this will be a movie like you have never seen before.
I think 'The Girl with the Dragon Tattoo' is a good example of a film where you have to juggle a whole lot of information to follow that story, and even if you haven't read the book, it seems to go pretty well. And that is a film where the characters didn't meet until 74 minutes into the film, not on page 17.
But you can still find good films if you read your local film critics and are willing to drive a bit. You have to be a proactive film viewer to have the most provocative cinema life.
I loved American filmmakers when I was growing up. I didn't get to film school or anything. I was a very bad student. I just devoured film, but there was a point in my teens when I started to run a little film society.
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