A Quote by Lucrecia Martel
The consumption of information, films, music has been changing in recent decades. It's hard to know what will become the film that can not easily reach [audiences].
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In the olden days films used to become huge hits because of family audiences. But nowadays certain films cater to youth audience and once that is exploited then the film stops. and some films are for a mature audience. My aim is to satisfy all the sections of the audiences.
I can't remember who said, 'No film is completed, just abandoned,' but I think most filmmakers will tell you that they could endlessly fiddle with their films for the next couple of decades, you know, changing things, altering things.
If you're frustrated by a music industry that seems too hard to break into, you're not alone. The BIG secret is information...It's not who you know, it's what you know. People who know how to put their music out make money. People who don't know how, have to beg others to help them. It's as simple as that. HipHopBiz.com provides the information people like you have been using since 1992 to release their own music.
It's a privilege. It's a real honor. It's a challenge. Michael and I always feel we stand on tall shoulders when we make these films. Audiences come to them with a lot of good will because of what's come before. We just try to make the best film we can, each time, and hope that we satisfy the fans. I'm sure, with Skyfall, that we will. I think it's a terrific film. I hope the audiences enjoy it, as much as we've enjoyed making it.
Email will probably be around for many decades to come. It's hard to say what will happen 20 years from now, but email has been around for decades, and it will likely be around for decades more.
I do feel bad when my films don't do well, but I respect audiences' verdict because they know well which films to support. If they don't like a film, we should accept it.
When you do a film in a foreign language, you know there's a cost in it, that you know, unfortunately, the audiences of foreign language films have not been cultivated. There's a market, but the market has been reduced, unfortunately, and you know that when you're making a foreign language film, you're making a choice.
Our films have the ability to tell global audiences who we are, and this is something the government should feel compelled to protect. My film, 'Bend it Like Beckham,' for example, would not have been made without the backing and support of the U.K. Film Council.
Recent decades clearly demonstrate that the more secular our Public Schools become the less successful they become academically.
I've been making films with almost no dialogue (laughs), so sound and music become a very powerful character to tell the story. It's almost like with sound and music and images, it's your tool to tell the story, especially when I decide to structure the film in a way that usually goes against the conventions of the three-act structure which most films are made out of.
I've been actively trying to extend my reach beyond WWE. I wanted to do some non-action related projects, stuff that will resonate with different audiences who might not know who I am.
If instead of looking at income, you look at levels of consumption, if anything that's become more equal. The fraction of families that have a dishwasher, that have a sewing machine, that have a television set. In respect to consumption, it's very hard to avoid the view that people have been getting more equal rather than more unequal.
When Balaji decides to release a film, all you will see and hear will be concerning the film - we go all out! Promotions are a big part of our banner - we believe in marketing... in letting audiences know what they are in for.
Robert Townson at Varese is a huge fan of film music and has really done a lot to educate audiences about film music and scores.
You read reviews by top reviewers of films that not only had remarkably interesting scores, but films whose effectiveness was absolutely enhanced, and frequently created by the music, yet the reviewers seem unaware that their emotions and their nervous reactions to the films have been affected by the scoring. This is a serious flaw. Any film reviewer owes it to himself, and the public, to take every element of the film into account.
When I work on films, I like to be involved from as early as possible. I think this is really good and beneficial in terms of absorbing the atmosphere of the film and for the music to become a part of the DNA of the film.
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