A Quote by Lloyd Kaufman
I believe that independent film making is the last frontier of creative expression available. So I'm always willing to lend a helping hand to a young film maker who's just getting into the business.
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My experience I consider an accident in the Hollywood system. I don't believe it should be a reference for a black film maker, or an example for any young film maker, because it's purely luck.
Well, as far as film, either you're making a film or you're making videos. Digital capture is always trying to emulate the range and look of film. I believe personally that film has more.
I don't want to be a film-maker. I think painting is far more exciting and profound. It's always at the back of my mind - let's give up this silly business of film-making and concentrate on something more satisfying and worthwhile.
I mean, I made The Phantom, although The Phantom was, believe it or not, an independent film. It was just a very large, expensive independent film.
I did a film which was considered an independent movie with Dustin Hoffman and Andy Garcia called Confidence, and that's the type of film I was willing to take a chance on that because of the caliber of people involved with the film.
There was a golden era in film-making in Hollywood back in the 1970s, and although there is some great independent film-making in America, it's actually very hard to get independent films made in the United States. It's much more feasible from Europe.
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 am an independent film-maker first and foremost. I have always cut my own cloth.
Making an independent documentary film is so hard that usually, the usual model is that your film becomes a model for advocacy, so you can enlist that support group and get as much juice out of your film as possible. That's just practically, financially, what you need to do.
It's always fun to get to do independent film because I believe that that's the life blood of film. It's about writers and directors who truly have their own vision, and that's hard.
My last experience of film-making was Tickets, a three-episode film in Italy, the third of which is directed by myself. It's not for me to judge whether it's a good film or a bad film, but what I could say is that nobody had a cultural or linguistic issue with what was produced.
The audience is making the film and not the film-maker.
There's a documentary film-maker called Werner Herzog, who's a German film-maker. I really dig his stuff, I'd love to chat with him.
The fact is that you could not be, and still cannot be, a 25-year-old homosexual trying to make it in the British film business or the American film business or even the Italian film business. It just doesn't work and you're going to hit a brick wall at some point.
In any film business, if you're trying to get your next film made, you would never say, 'Oh, my last film was a cult film.' I'd say, 'Oh, great, well I hope this one isn't!' I always say to Johnny Knoxville, 'How do you do it? You sort of do the same thing we did, except you made millions, and I made hundreds.'
I found the people to be very kind and generous. It was unique because the crew was mainly Ugandan [filming The Last King of Scotland]. They had never done a film before. So, they were learning the process of making films, but at the same time they were also helping with the authenticity of the film.
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