A Quote by Niki Caro
The problem for me, with most movies for children, is that the filmmakers make the mistake of making it too simplistic. Where a child's world can be very complex, emotionally.
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If you deconstruct the movies that have done well, Pixar-type movies that do incredibly well and make hundreds of millions of dollars, they have a strain of decency and conservatism that maybe even their filmmakers don't even recognize. Yet, we cross our fingers that by mistake, liberal filmmakers and liberal producers are going to by mistake make conservative movies. We have to become invested in it, or else we have no excuse to complain.
One thing we haven't mentioned is something everyone should understand very clearly. Look at the budget that was invested in 'Avatar': who in China has that kind of money to spend on making a movie? So we as Chinese filmmakers should work together to make Chinese movies that can compete as best we can for Chinese audiences, not make lousy movies, but make the best we can for that audience. Concentrate the money, the talent we have on making good movies [for China].
The most difficult part of making movies is to keep making them. Maybe, you could make the biggest hit in the world, but then the big problem is what to do next and how to maintain devoted to a certain instinct that I have about films.
Even before the economic crisis in Greece there was no structure for making films - no proper industry, and the structure didn't help filmmakers at all. So filmmakers had to help each other, and make very, very low-budget films. Now with the crisis, things got a bit worse, but filmmakers are still going to be making films. It didn't change that much.
The problem with most love stories in my opinion is that they're too simplistic.
Not acknowledging that beauty is complex-that's the problem. I enjoy making it complex for people, because that's my world.
Men starting out have so many options of filmmakers to connect with artistically and be shepherded by and collaborate with. I just didn't have an older, more experienced me to help me. So I hope all the women making movies now are aware we have the opportunity to be that to new filmmakers.
I'm very fortunate, and the movies that I've made, even from the very beginning, have been very eclectic. The thing for me is: Am I emotionally engaged in the idea? Is there something special about it? Does it capture my imagination? So everything that I do is simply something that turns me on. And I have the good fortune to be able to make bigger movies and television that ostensibly pay for the other ones. I don't mean literally finance the movies. But they allow me to work on things for very little pay. I do these things because I love them.
I think of 'Mommy' as very simplistic or not simplistic, but I wish for the style to actually work with what you see onscreen and what you feel in that very moment. I hope we did not disrespect the characters by being too flamboyant when it's not necessary.
International adoption does not begin to solve the problems of the world's orphaned children. It's truly not the answer. At the same time, it solves a problem for a few. I think it can be a brilliant solution to the problem of adults wanting a child in their lives or wanting more children in their lives and the problem of children who want parents in their lives.
For the problem of decision-making in our complicated world is not how to get the problem simple enough so that we can all understand it; the problem is how to get our thinking about the problem as complex as humanly possible--and thus approach (we can never match) the complexity of the real world around us.
I think making small movies reminds you of the effort. When you make big movies, the effort is to fight for freedom. When you make small movies, the effort is making the day, making the budget, and it's great, too.
I feel that when a white child goes to school only with white children, unconsciously that child grows up in many instances devoid of a world perspective. There is an unconscious provincialism, and it can develop into an unconscious superiority complex just as a Negro develops an unconscious inferiority complex.
To make a Frankenstein monster of a complex character like Stalin would have been too simplistic. I wanted to show who he was and, if you like, how he happened.
Be cautious, but not too cautious; do not be too much afraid of making a mistake; a man who never makes a mistake will make nothing.
I believe in making movies very inexpensively; I think that way too much money is spent on making movies. Enough movies are being made, but not enough experimental ones.
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