A Quote by Mike Leigh
The main problem is that the Hollywood system has already made the film before the director shoots a single frame.
Related Quotes
Before writing a single note of music, and even before the spotting session, I find it best to sit down with the director and just listen to him or her talk about the film - what they're trying to say, what they want the audience to understand or believe, and a thousand other similar questions. The director has most likely been living with the film for years before a composer is attached, and so the director's inclinations, desires, and understanding of the film are paramount.
It never occurred to me to be a film director, partly because I hadn't seen a single film by a female director, but I liked the idea of being a writer moving to Hollywood and being unhappy; that sounded romantic and fabulous to me.
Every time a Hollywood director shoots a film about Africa that features a Western protagonist, I shake my head - because Africans, real people though we may be, are used as props in the West's fantasy of itself.
For me, it's not like I am going to look at the money the director's film has made before their film... For me, it is about working with the director whose work I have admired.
I'm meant to be an animation director. That world, and the culture of stop-motion, is where I want to live. It's more my problem than Hollywood's. I'm not attuned to Hollywood.
Your own imagination as to the true ability of the permaculture design system, you need to trust the system and stick to main frame basics with profound and thorough thinking while trusting yourself.
Long before I achieved financial success and became the subject of a Hollywood film, I was a veteran, a single father, and a working person who was homeless.
One quality that a director needs to acquire in Hollywood is to understand the system and figure out how to work within the system to express one's own ideas.
The problem in Hollywood is that they try to become the only kind of cinema in the world, okay? The imposition everywhere of a unique culture, which is Hollywood culture, and a unique way of life, which is the American way of life. But Hollywood has forgotten that, in the past, what made Hollywood great and what made it go ahead was the fact that Hollywood was fed with, for example, Jewish directors coming from Germany or Austria and enriching Hollywood. In 15, 20 years, Hollywood became imperialistic. Cinema goes ahead when it is marriaged by other culture. Otherwise, it turns on itself.
I read that Hollywood wanted to film Fences years ago with a white director, but [August] Wilson refused. He thought that the director needed to have lived the culture of black Americans.
There's nothing in Hollywood that's inherently detrimental to good art. I think that's a fallacy that we've created because we frame the work that way too overtly. 'This is Hollywood.' 'This isn't Hollywood.' It's like, 'No, this is actually all Hollywood.' People are just framing them differently.
I guess you could say I'm like a film director but my movies have only one frame.
Given that most movies are bad, and that there are whole categories and sub-categories of badness - the sequel, the Madonna Movie, the Friday 13th Series, or Movies Starring John Travolta Before Pulp Fiction - it is almost impossible to choose a single film for worst movie of all time. But strangely, I do have a nomination and I believe it is actually the worst movie ever made. It is Boxing Helena. The director is David Lynch's daughter, and the film comes with the almost insane-making faults that the family connection might imply.
It all depends on the directors. Working closely with a director is the main job of a film composer. Interpreting what he perceives as a color, an emotion or mood is very abstract. A director tells you something he wants and then you have to run back...
When I was a Hollywood press agent, I learned how the Hollywood casting system worked. There was a roster of actors who were always perfect as doctors or lawyers or laborers, and the directors just picked the types they needed and stuffed them into film after film. I do the same [with
my characters], book after book.
The corporate system dictates what gets made, and the movies are so bad because of the economic structure of Hollywood. The big business takeover of Hollywood is at fault rather than American storytellers - it's what keeps textured movies from getting made.
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