A Quote by Lee Unkrich
Everyone looks at our films and thinks that we are somehow able to make movie after movie that does well and is entertaining, but there's an enormous amount of work that goes on under the hood and an enormous number of mistakes that are made along the way.
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The odd thing is, I don't consider what I do work, because it's what I love. But it is also an enormous amount of pressure, and you have to work an enormous amount of hours.
I am so impressed with people who can really make a big movie, a good movie. The amount of work that goes into it is incredible.
It doesn't matter the amount of gore, the amount of shocks that you can have in a movie if the movie's not entertaining, if the story's not entertaining.
I always feel I have made unfilmable books. I even felt that way about a book of mine that was later made into a movie. But my wife, who has made two films, thinks this one would make a very original film. I'm all for original films.
You can do crap work in a big movie, and it does good things. You can do great work in a movie no one sees, it does nothing. That's the way it goes.
I thought it would be an enormous amount of fun to make a movie that heads out into space, which is something that we had never done before.
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.
But then foreign critics right away made sweeping comparisons to haiku, noh theater, and directors like Ozu, as if the movie were somehow representative of Japan - which was, well, not what I was after. Similarly, with After Life, I deliberately set out to make a movie that was unlike what I imagined the foreign conception of Japan to be, and I figured non-Japanese wouldn't find it interesting at all.
I feel that, you know, the enormous luck I've had in being able to make a living, and to never have had to have written one word that I didn't want to write, to be able to have satisfied that dictum I set for myself, which was not to work for pay, but to be paid for my work - just to be able to satisfy those standards that I set for myself has been an enormous privilege.
Let's get a couple of things straight. It hasn't been years and years since I made a movie. I'm not coming back from the dead - I've just had two kids! I have no intention of retiring, but I do think it's impossible to do movie after movie, because there aren't that many good films made.
I have an enormous amount of respect for Nicole Kidman. She's just done so many great movies and she's been out there at the forefront of carrying films and being a movie star. On set, it really pays dividends because when you're performing with her, she knows exactly how to play it. You don't have to compensate for her in any way.
There are an enormous amount of techniques I wanted to beta test in television. You can't take those risks on a $100 million movie.
They put all this money into these huge films and then no one goes to see them. That sort of shows they're out of touch. Then everyone in town passes on my little movie and it does really well.
For most actors, it's such a struggle to get work. Once they have it, they feel that there's an enormous amount of pressure on them to make it work, and have everyone love them.
The movie studios, they only like to make - I make a joke, but it's true - if the movie has the word "man" and a number in the title, they'll make it. If it doesn't have that, it's an R-rated raunchy comedy, and that's it. Any other movie that you're going to make is going to be an independent one. So for filmmakers who want to do something other than "man" and a number, it's either independent films or television, which is like the place for real creative filmmakers to go.
Avatar is a watershed movie. We'll always refer to Lawrence of Arabia in the same way. We'll always look at Avatar and say, "That's about as good as it gets." It's an enormous advance, in every way, shape and form, of movie making.
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