A Quote by Lynn Shelton

I don't have a desire to make films that have cardboard cut-out or Hollywood stand-in replicas of humans. I need the real deal. — © Lynn Shelton
I don't have a desire to make films that have cardboard cut-out or Hollywood stand-in replicas of humans. I need the real deal.
I do not make films which are prescriptive, and I do not make films that are conclusive. You do not walk out of my films with a clear feeling about what is right and wrong. They're ambivalent. You walk away with work to do. My films are a sort of investigation. They ask questions . . .. Sometimes I hear that some [Hollywood] studio is interested in me. Then they discover that this is the guy who works with no script, that there is no casting discussion, no interference, that I have the final cut, and that does it.
I carry a knife with me so I can cut images out of cardboard boxes. I'm always cutting cardboard. Especially every Thursday, which is recycling day.
I used to cut guitars out of a piece of cardboard to copy the Strat look. I used a backwards tennis racket for a while and graduated to the cardboard cutout.
To say that Agatha Christie’s characters are cardboard cut-outs is an insult to cardboard cut-outs.
In Hollywood, they make movies like they make washing machines. It's a business. In Europe, the films are considered art. No producer would ever tell a director where to cut a film or how to re-write the script. I love Hollywood, but all of the time I have to go back to Europe.
I don't care about Hollywood films. I'm not against Hollywood films, you know? Hollywood films were very good before, in the 1950s.
If we make films only for the frontbenchers, we can't make money. Hence, we have to make it for a majority audience. As my films are mass films, I deal with emotions in raw form - they are not subtle. I don't mind being branded. That does not mean I like only those kinds of films.
Nothing communicates with the people who make real decisions in Hollywood like spending your own money and showing that you can make profitable films.
I'm an independent filmmaker with complete creative control of my films. I hire who I want. I have final cut. But at the same time, I go directly to Hollywood for financing and distribution. I find it's best for me to work within the Hollywood system.
My handwriting was so good I won a prize, a cardboard cut-out of a farmyard; my mother threw it away when we moved.
Making African American films are hard in Hollywood. We need to rely on a support network and bring more cohesion to different filmmakers, actors, producers etc. It's a very difficult business. There aren't a lot of Africans Americans or people of color in high positions in Hollywood that we can green-light films.
Climate change is a real deal. So, hey deniers - cut it out, and let's get to work.
I'm not particularly interested in working with movie stars. It depends on where you come from, I suppose. Why are you making films? The reason I want make films is because they convey ideas. I think some directors make films because they want to hang out with movie stars and be part of Hollywood. They want to be a star themselves.
If Hollywood can make films on insects and make big money, why can't we make films on Punjabi culture?
I think our problems are inherently unsolvable. We need to change our genetic make-up or create computers that will think us out of it. I don't think humans are able to deal with what we have.
You graduate from film school and move to Hollywood. Hollywood tells you, 'We're not the place for you to make films,' so you decide you have to make a film yourself.
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