A Quote by Matthew Lillard
Now, more then ever, we have the ability to make films for almost nothing and that's broken down all barriers of entry. I think it's a new golden age of film-making. With that, there needs to be the ability to recoup investment dollars, people need to make money.
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We as taxpayers have put in well over $12 to $15 billion of investment in a repository for high-level nuclear waste... if we're ever to recoup that investment in the future... then we're going to need some money to reopen Yucca Mountain.
In the information age, the barriers [to entry into programming] just aren't there. The barriers are self imposed. If you want to set off and go develop some grand new thing, you don't need millions of dollars of capitalization. You need enough pizza and Diet Coke to stick in your refrigerator, a cheap PC to work on, and the dedication to go through with it. We slept on floors. We waded across rivers.
If your income on films or whatever you're producing using film drops below a certain level, then you don't have enough money to stay in business. People like to say that this is all just about making money, but if you don't make money, you don't make anything.
As the witness testified before my Subcommittee on Immigration, that barriers magnify the ability of every Border Patrol agent to be more effective. And so if you make up your mind, you can build substantial mileage barriers. It will increase the ability of our officers to perform, and the most important thing is, it sends a message to the world, the border is closed.
I enjoy the making of the film and it's something for me to do. If nobody ever comes to my films, if people don't want to give me money to make films, that will stop me. But as long as people come all over the world and I have an audience and I have ideas for films, I will do them for as long as I enjoy the process. And I like the whole process of making a film.
When I see films like 'Lagaan' and 'Rang De Basanti,' I feel, 'Why can't I do work like this?' Then you think and realise you need to learn more to make this kind of a film or write this kind of a film. Also, somewhere down the line, you need to be brave.
Even today, I'm not sure why I make films or what makes me want films. I think it's other people's films. Whenever I see a really great film, I think, 'I want to make a film like that.' And then I never do.
Today, they make films where you have to sit for an hour and a half and watch somebody in the process of dying and, for me, that's rather depressing. Films, in the good old days of the golden age of Hollywood, used to want to inspire people and give them uplift. You're paying good money to see a film, and you don't want to leave depressed!
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.
It's always weird when people approach me to make an investment. I tell them, 'I don't need any more money. I'm good.' Then I wait for their expression. That part is entertaining, because people look at you like you're crazy when you say you don't need any more money. Who says that?
I'm using the laws of the nation to my benefit. And I should do that, it's to my benefit. Now, when, if I am running the country I will use that same ability that I have, because I have always had the ability to make a lot of money. I'll use that same ability to make our nation rich again, because it sounds like, not nice, some people said, oh that's a harsh word, "rich". We can't be great again until we are rich.
I think of horror films as art, as films of confrontation. Films that make you confront aspects of your own life that are difficult to face. Just because you're making a horror film doesn't mean you can't make an artful film.
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 do think that animated films have the ability to touch you someplace. There is something about live action movies that is different because we know the characters are real people, so they always stay flawed for us somehow. But animated films touch us in a very clear, uncomplicated place. They have that ability. And an animated character can make an expression in a way humans can't do.
For a ridiculous analogy, let's take Purple Rain. If you were to put Purple Rain and The Sound of Music on the desk of a producer, he or she would know that the majority of moviegoers would rather listen to Prince. Since they are in the business of making money, no one can blame them. But if it ever came to the decision of making a film like that I'd say, "No." They are very easy films to make, though. In Purple Rain there is nothing complex about the way that they dance. Or sing. It would be a bit boring for an adult to make that film. It just wouldn't test their métier.
The bottom line is that we have entered an age when local communities need to invest in themselves. Federal and state dollars are becoming more and more scarce for American cities. Political and civic leaders in local communities need to make a compelling case for this investment.
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