A Quote by Norman Jewison
As you know, in America there's no rights for the artist, so whatever films I've made kind of belong to the studio, so if they want to remake it they can.
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In America there's no rights for the artist, so whatever films I've made kind of belong to the studio.
Whatever my father did were great films. I don't want to remake any of them.
There's big studio films I didn't want to do. I didn't want to go through the hoops and ladders. I wouldn't have been able to work with the directors I've worked with if I did those studio films.
I think movie makers in every country are looking for ideas. It's interactive. And sometimes we remake a lot of Hollywood films but we don't buy the rights, we just try to imitate those films.
With excessive digitisation, now, everyone is making films, which is good, but the makers think that they will quickly make films in digital and bag satellite rights but television channels buy satellite rights of notable films only. If we made fewer films a year, percentage of hits would be better.
I'm sick of remakes, how about something different. That's the thing - people always come to me and are like 'what do you want to remake, we know we can get that greenlight, what do you want to make?' I don't want to remake a g-d damn focking think.
I think I was very lucky to have grown up with an artist's studio in the house. It was a kind of life that was possible. Yeah, it made it kind of harder because the standards were higher, but there was no pressure.
If I was an artist, and I was in the studio, then whatever I was doing in the studio must be art.
I think indie films have more of a fresh, experimental vibe about them, whereas studio films know what they want and can basically get it.
Ask any rapper or singer what artist they are an expert on. What artist are they looking to emulate, and really, what artist is the one person they are an expert on? You see, if you want any kind of longevity, if you want any kind of legacy, you need to know what ancestral line you are from.
I sometimes hear people say women don't want to direct studio films, but I do. I want to direct big films, little films, TV. I want to do it all.
This country was founded upon the principle that we are all endowed with certain inalienable rights to Life, Liberty, and the Pursuit of Happiness - those rights are what make America great, and they belong to each and every one of us.
The vampire or the bad guy, that's what people do remember. Lars von Trier, like Guy Maddin, their films are made for a group of exclusive people who like special films. And they are special films, they are art films. And I started with commercial films at the beginning, and later on, because you know, when you are an actor, you have the same cliché like everybody else, you want to be in big films, you want to be known and all that.
Writers do the self-censoring before they even get to the studio executive, because they know the film will not run that gauntlet. They, because they want to get their films made, they censor it.
What is it that an artist does when he is left alone in his studio? My conclusion was that if I was an artist and I was in the studio, then everything I was doing in the studio should be art . . . . From that point on, art became more of an activity and less of a product.
You know, independent films have been institutionalized, practically. Every studio has got a boutique arthouse label. There's like, 18 different independent film-financing funds. In fact, I think the children of those films are getting made. A more interesting question is whether those films are going to get seen and appreciated.
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