A Quote by Margaret Atwood

I was delighted with the film [Payback: Debt and the Shadow Side of Wealth]; it almost made me want to be a film-maker! — © Margaret Atwood
I was delighted with the film [Payback: Debt and the Shadow Side of Wealth]; it almost made me want to be a film-maker!
It was exciting to work with director Jennifer Baichwal, who made Manufactured Landscapes and others, on the film of Payback: Debt and the Shadow Side of Wealth. It's called, simply, PAYBACK. Jennifer didn't want to do a transliteration of the book, a kind of illustrated version, but to go into the core of the book: owing and being owed, paying and paying back, on all sorts of levels. So she found real-life, visceral stories that embodied the themes of the book.
The film [Payback: Debt and the Shadow Side of Wealth] opens with an Albanian blood feud and goes on to delve into, for instance, prison systems, underpaid tomato pickers, the gulf oil spill. It's all woven together in a sensuous, oblique way that's not the same as the single-message kind of documentary we're used to, with an "answer" at the end. It's more like an exploration. Sort of like what you do with Birth of a Nation.
I really didn't want to be boxed into becoming a certain kind of film-maker - becoming the Maori story film-maker because I had made those short films.
A simple love story can be made into an interesting film if the film-maker can think differently.
My favourite film-maker west of the English Channel is not English - but to me doesn't seem American either - David Lynch - a curious American-European film-maker. He has - against odds - achieved what we want to achieve here. He takes great risks with a strong personal voice and adequate funds and space to exercise it. I thought Blue Velvet was a masterpiece.
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.
Let me put it this way: if I am the leading man of the film, and the film-maker is asking me to support him in a certain aspect so as not to burden the budget of the film, I will do whatever I can to support his vision.
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.
Ever since I made the short film 'Black And White,' which had almost no dialogues, the idea of making a silent feature film fascinated me.
Film can express things that computers never will. Film is a series of photographs separated by split seconds of darkness. Film is light and shadow.
Even for the most difficult scenes, and there are difficult scenes in the film, and because Michael Haneke is such a great film-maker - I think a great film-maker is not only being inspired, but how to do it, how to make it as real as possible, knowing that it's not real.
I made four comedies, and all did well, but I always wanted to do an action film. When I saw 'Singham,' I thought this was the right film. Many stopped me, saying, 'You are doing so well in comedy, why do you want to make this film?'
Film is a much lonelier process than theatre. You really don't have any rehearsal time in film. You don't shape it together... with theatre, there is a complete kind of family atmosphere. The sociable side of this business is the theatrical side, it really isn't the film side.
I made 'Siam Sunset.' In Australia, it was pretty much universally hated, but I did notice that almost any American who saw it loved that film, so in 2001 I made a film in America called 'Swimfan,' and they released like a big studio movie, and it made money.
I've always felt that an independent film is a film that almost doesn't get made.
For me, when I choose a script, I put my heart and soul into it, and that is exactly what I look for in a film. A good film is a good film. And if it's a bad film, irrespective of whether it's made 300 crores or 200 crores or any amount of money, it doesn't matter to me.
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