A Quote by Nicole Holofcener
I don't have a drawer full of ideas. I kind of look around and take notes and wonder what could actually be a whole movie. And each time, I think I'm going to do it more commercial this time; I'm going to get a big budget and make it. But I always come up with some small idea.
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What's frustrating to me is when, on a low-budget movie, people don't take chances. A big-budget movie, that script's your bible; nobody's going to risk going off the page. But when you're doing a very low-budget film, why not take some chances, intellectually, artistically?
I never think of an entire book at once. I always just start with a very small idea. In 'Holes,' I just began with the setting; a juvenile correctional facility located in the Texas desert. Then I slowly make up the story, and rewrite it several times, and each time I rewrite it, I get new ideas, and change the old ideas around.
I don't know what the misconceptions are, but I approach a small budget, artsy, independent movie in the same way as a big budget, commercial Hollywood movie. I don't get into those [details]. I have to get into my character and I concentrate on that, on the story, on researching, and on certain training if I have to be prepared physically. I think that's the most important thing.
I knew that's where I was going. I knew we were going to Italy. You couldn't make this movie in America at this price. I knew it was going to be big. I knew there was going to be a ship involved and that there was going to be a set as big as the ship. I thought, well, here we go. But I knew that was where he was headed. He had been going this way for some time. All directors, once they have some success, they want to spend a whole heck of a lot of money. (Something else can't hear.)
I've ended up as a filmmaker who really loves the movie part of movies. That time in my life was a big influence on the kind of movies that I ended up making. I always think I'm going to make a movie that's gritty and real, but then I make a movie that's like an opera. I fight it at first and then that's just the way it is.
A budget is not an issue. I mean a budget is used if you need more weeks or more time or more elements, but the creative process is exactly the same. In some instances you become more of a boss when you are doing a small movie. So that is not so relevant. The only thing is that the bigger a movie is in terms of budget, is that there are more people giving opinions.
When I make a movie, I have both a specific and vague, amorphous dream idea of what the movie is going to be. Of course, I don't actually know what it's going to be, but I'm still striving to get to some place with it.
If I've got a problem with one of my clients that needs to get solved, guess what I'm going to do? I'm going to call them up, and I'm going to say, 'Hey, here's what's going on. This is the situation. This thing went sideways. I didn't expect it. Now it's going to take me some more time to get you what you need.' But I'm going to do that upfront.
Every time I make a movie I think that it's going to be my last one, I think that no one is going to show up. I always have this sense that they're all going to fail. I am scared to death.
The stage for our whole show is actually really interesting and a lot of fun. There's always something going on so we figure even the people who come up and don't know Big Time Rush love the show because there's always something going on, so that's what we love about it.
Older animals are the best because, number one, a majority of the time, they are already house-trained; number two, you know exactly what kind of personality you are going to be getting with that animal; and number three, they are already full size, so no need to wonder how big they are going to get.
Every time I make a "Mission" movie or other films, people kind of look at me and go, "Well, now what? What's next?" I think there's always going to be another mountain. I think there's something always in store.
The people I've met -- obviously, the people I'm going to meet after concerts are people that bother to hang around and there's going to be more of a chance of things translating to them because they're going to take more time over it, if they're going to wait around to meet us. But so far, it does seem as if things written down are translating into people actually buying it, that kind of way.
Hiding is not an option and you're going to step out and you're going to make mistakes. I'm going to look stupid. I'm going to say things I want to retract. I'm going to sing notes I wish I could have back, there's just no getting around the stumble, but if you stumble enough times you're going to fall off the edge and have no choice but to freakin' fly.
Actually, time and time again people always come back to my early, more innocent stuff, and say, "I kind of prefer that." I could go back to writing that and probably make more people happy, but it just doesn't feel like the right thing to do. I don't want to take the lazy route.
That's why I ended up leaving school - because it required so much time, and it was such an excellent idea. I figured I would regret not going full force with this idea. It seemed we could make something of it.
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