A Quote by Mark Addy
One of the differences between HBO and other television is that they demand the same coverage that you would have in a feature film. We need to have all the shots in order to make it as rich and as stunning as it looks. We can't cut any corners.
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I think where Playground is heading is deeper into that marriage between stage, film and television, with the increasing number of people in the film business working in television, obviously something that we were very influential in starting and doing at HBO. And I think that that's the focus of where I see the company moving forward, continuing to explore that intersection of all that talent.
I don't feel the obligation to have a big explosion in the first 20 seconds so the audience doesn't turn on another channel. We are trying to make something that looks like a feature film that was bought for television and I think we are succeeding.
The amazing fact that one person can make his own film - I think animation is somewhat unique in that respect. I don't need to deal with lawyers. I don't need to deal with corporations. I don't need to deal with executives or agents or any of that. I can just sit at home and make a feature film. That's a wonderful experience. Each film I make gets more popular, more press and makes more money. So it's amazing that I've survived and actually prospered doing that sort of homegrown, cottage-industry filmmaking.
I think I entered the market around the time when there was getting to be less snobbery about the difference between feature films and television. I think there's been a lot more receptivity on television to interesting adult stories that in the '60s and '70s would have been made into feature films. I have no problem jumping back and forth. If anything, I find it less restrictive working in television.
It would clearly not be an improvement to build all houses exactly alike in order to create a perfect market for houses, and the same is true of most other fields where differences between the individual products prevent competition from ever being perfect.
Let the revolting distinction of rich and poor disappear once and for all, the distinction of great and small, of masters and valets, of governors and governed. Let there be no other differences between human beings than those of age and sex. Since all have the same needs and the same faculties, let there be one education for all, one food for all.
I think I have an obligation, to the people who have consented to be in the film, to make a film that is fair to their experience. The editing of my films is a long and selective process. I do feel that when I cut a sequence, I have an obligation to the people who are in it, to cut it so that it fairly represents what I felt was going on at the time, in the original event. I don't try and cut it to meet the standards of a producer or a network or a television show.
I think that too often we, film directors, think that a big epic novel and feature film are the same. It's a lie. A feature film is much closer to a short story actually.
You have to use what you have in order to get what you need and the people can not be rich unless somebody is rich. The Hip-Hop generation has carried more people with it than any other enterprise Black Americans have had.
In the future I would like to try other forms of racing, testing Formula cars or single seaters would be good, but again it is finding the time as I am incredibly busy. I don't think I have the time to try any other new sports. I have already cut skiing out of my routine in order to manage the racing and riding relationship. By the looks of things I am going to be busy for quite a few years.
When I said that something was going to cost a certain amount of money, I actually knew what I was talking about. The biggest problem that we were having on the financing front was people with lots of money saying "you need more money to make this film [Moon]," and us saying "no this is the first feature film we want to do it at a budget where we sort of prove ourselves at the starting end of making feature films; we can do this for $5 million." That is where the convincing part between me and Stuart came, we had to convince people with money that we could do it for that budget.
Often times people complain about the lack of time in television, but I have to say, you don't have any more time to film in feature films then you do in television. It's just a question of how many scenes you'll be doing in the course of a day.
It is Proust's implacable honesty, his reluctance to cut corners or to articulate what might have been good enough or credible enough in any other writer that make him the introspective genius he is.
Working on 'Westworld' has been an incredible experience in learning to make something with the scope of a feature on a TV timeline with a budget nowhere near what you would expect for a feature film equivalent.
The feature film has changed a lot. Art houses are gone and people show a certain type of cinema in the big theaters now that, you know, it's not quite really good for me, and if I made a feature film, I was think I'd play in LA and New York for a week, and then go right to television.
By the way, today with digital cameras and editing on your laptop, and things like that, you can make a feature film, a narrative feature film easily for $10,000.
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