A Quote by Lisa Cholodenko
I got exposed to art-house cinema and foreign films. I was from L.A., so it was a film culture that I didn't know about.
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Basically, I have always wanted to have an art-house cinema. A cinema where we can show films that are not necessarily the current offerings on circuit and films that are not commercial.
For British cinema to survive, you really need a British film culture, and it's got to start down there, with young kids watching films in the cinema - so they can be transported to a different world.
The boundaries between contemporary art and cinema are so rigid. It's unbelievable. The film critics don't know my artwork and the art world doesn't know my films.
Norway is a small country, about half the size of Sweden, but it has a very good film climate because they have municipal cinemas, so even in the smallest towns you have a cinema that shows art house films from all over the world.
It is said that anyone who does commercial cinema is not acting, and anyone who does an art film is acting. I don't believe it. I feel whenever you are doing a film, you are acting. So you need to be applauded for that. I won't do art house cinemas. I want to make commercial films. I want my films to make money.
I watch everything from independent art-house cinema to foreign film. I don't watch as many Hollywood blockbusters but once in a while, I'm curious. I like to see what's out there.
My production company wasn't doing well, so we were not producing films. Over a period of time, we have realized that we are going to produce our own films and make cinema that we like. We've got so much in-house talent, and my kids are going to be coming, so we all decided that we are going to be in films and cinema.
The cinema is not an art which films life: the cinema is something between art and life. Unlike painting and literature, the cinema both gives to life and takes from it, and I try to render this concept in my films. Literature and painting both exist as art from the very start; the cinema doesn't.
NYU Film School was the way to learn about film, to be exposed to film, to go to repertory houses, to be exposed to New York and see films. I would go to the library and see one, two or three movies a day.
People talk about making art films - experimental films. I can make an art film every day of the week. Nothing to it. What's difficult is to combine a commercial film with art.
You become a film critic because you're interested in film. I don't know whether knowing so much about cinema leads you to make better films, but it certainly can't hurt.
I had a really hard time in Orange County. I was a nerd. I was watching foreign cinema when I was 13 and talking about how 'Hope and Glory' should be a foreign film.
Well, I think by and large, certainly in terms of cinema, American culture dominates our cinema, mainly in the films that are shown in the multiplexes but also in the way that it has a magnetic effect on British films.
More than my other films, Uncle Boonmee is very much about cinema, that's also why it's personal. If you care to look, each reel of the film has a different style - acting style, lighting style, or cinematic references - but most of them reflect movies. I think that when you make a film about recollection and death, you have to consider that cinema is also dying - at least this kind of old cinema that nobody makes anymore.
I kind of worry about that a little bit - we lost our film culture for 30 years because the Americans came in and bought up all the cinema chains and wouldn't show any Australian films.
I'm not coming from film school. I learned cinema in the cinema watching films, so you always have a curiosity. I say, 'Well, what if I make a film in this genre? What if I make this film like this?'
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