A Quote by Melvyn Bragg
In the 40 or so years I've known David Puttnam, not only has he pursued an outstanding career in films and now politics, but he has been the keeper of the flame of the British film industry.
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I had been acting for 40 years when politics beckoned. I didn't want to continue with a film career. It had to be politics wholeheartedly.
People say, "How do you get into the British film industry?" There is no British film industry, there are just people making films and finding their own way. It's not like in the States where there are studios and there's an actual infrastructure to it; there's just nothing here. You make it from scratch a lot of the time.
I think now you see a lot more British films from the perspective of, I guess what would be considered "new" British people - people of color, Asian people. I think that's what's happening now, whereas 20 years ago it couldn't happen because it was still predominantly, "British film is about middle-class white families and what they do."
The problem with the British film industry is that it's really the American film industry, or a small branch of in lots of ways because of the common language. But it's great to see some individual voices still there. I think I probably gravitate towards a slightly more European, auteur model rather than the studio thing. I think it would be great if British films were a little bit more auteur driven.
I think the British industry is set up to support British film, if we make films that enable them to support it. If you don't make a commercial film, distributors can't get behind it. If they don't get behind it, the film doesn't do well.
I'm somebody who is very, very proud to have been a part of the British film industry all my life and to have kind of been involved with a very important piece of British film history.
Israel has a fantastic film industry, and many times we are known for our political films or films that have to do with the army. I love the fact that we can show that there are films coming out of Israel that are just for fun.
I guess people feel that if you're working with good directors and are known in the Hindi film industry, then you won't work in South films. However, I believe that films have no boundaries of language, religion, or cast. If it's a good script and a good director, I can do a film in Spanish as well.
The State Film Authority will be there for film as industry only, as is the case in all the other states, except Victoria. Victoria is moving more now into supporting non-commercial films.
Hollywood is a film industry, a film business. I don't approach my career in that way. I see it as 'art,' and I become involved in films that ring my bell.
A lot of the reasons that I'm resistant to making films in the U.S. have nothing to do with not doing a film in Hollywood, but rather to do with what I'm committed to working on in the U.K. I feel very committed to the British film industry and infrastructure.
I would love to do better in mainstream Hindi films, but one thing I must say is that my best experience so far has been in the Punjabi film industry, where I've been around for more than 11 years.
I was the guy who had been bouncing around the film industry for years, and I'd been lucky if five or 10 people would see my movies, so Captain Jack did a big flip for my career.
British audiences are toughest on British films. So often, a British film is the last thing they want to see. If you please them, you really know you've made an impact.
I am probably the only actor who came from television serials to films and was able to work in films this long. Of the 75-odd films I've done, in around 40 of them, I've been the hero.
Filmmakers need to give the audience that something extra, an incentive to spend money and go to the multiplex - the ticket prices are high. Otherwise they'd just stay home, buy DVDs or download movies. But if there were only big budget movies it would be impossible for the film industry to survive. So I emphasize the importance of mid-range films. But those films need the support of theatre owners. The theatre chains have to have the vision to realize the need to support smaller films for the growth of the domestic film industry.
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