A Quote by Paul W. S. Anderson
When I first came to Hollywood to make 'Mortal Kombat' back in the day, there was this rule that female-led action movies don't work and American studios didn't want to make them.
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I remember the first Mortal Kombat, when that came out, that was the hardest game of all time. There would be lines at the arcade around the block, and I still love all of the Mortal Kombat games.
People always say to me, "What's wrong with Hollywood? They don't want to make female-driven movies." And that's not where the problem lies. It lies with us, in society. When we make these movies, nobody goes to see them.
I had played 'Mortal Kombat' back I arcades in London, and I loved it. I came to the movies as a genuine fan of the intellectual property, and I think that counts for a lot.
People talk about Hollywood as a myth, but in reality, when you make Icelandic movies and you want to get them distributed in the U.S., you're not really working with Hollywood. The movies I've been making, the first one I made, I made it with Working Title, but it was financed through Universal, so it became a Hollywood production.
Agents have enormous power that studios relinquished to them. The studios, when I first came to Hollywood, that's where the power was.
I have a tendency to think that that stereotype of American movies and Hollywood movies doesn't exist. Of course you have the studios that have a very hard policy upon their artists, but then I haven't really been doing any real Hollywood movie yet.
Even some of us who make movies underestimate their influence abroad. American movies sell American culture. Foreigners want to see American movies. But that's also why so many foreign governments and groups object to them.
Hollywood is a business and movie studios are only going to do what's going to make money. It's not an altruistic thing. They are blatant grabs for money. Responsible studios want to make quality pictures, but at the same time nobody is going to make quality pictures they know aren't going to make any money.
Producers and studios want to make movies that are more appealing internationally and I think that you have to use your different cultures as an advantage to be able to make those movies.
The Seydoux-Schlumberger industrial empire won't make $100 million movies. Hollywood does that much better. But you don't make movies because of their budgets, you make movies because you believe in them. Setting limits doesn't matter to me.
If you want to be in Hollywood, and if you want to make big international movies, you have to be able to make movies that don't have anything to do with social status or politics. To limit yourself to just do these little small movies and call it black cinema itself is a mistake to me.
I make the joke, all the time, that if you have the word "man" and a number in the title, like Batman 2, Spider-Man 2 or Iron Man 12, you'll get it made. The kind of movies I make, studios don't make them. I've made a lot of movies, and at Castle Rock, we've made 125 movies. None of them get made at a studio. I've got to scrounge around for money, every time. I just like to tell stories. I'm a storyteller, so I want the most people to see it.
American movies show you how to fight and break armsand necks. I want to make the action in my movies like dancing.
The studios are never going to make $200 million a picture with those types of movies. It's not familiar to them, and it's not a model that can necessarily be sustained. Now, if they go back to making movies about people ... well, I hope they do that.
Our company, it's, uh, really un-sexy. And I think most people get into Hollywood to be showy. We first of all make horror movies, which people turn their noses up at. Second of all, we make cheap movies, and Hollywood's a lot about ego and money and, 'My movie cost $200m!,' you know?
'Together Together' is at its core a spiritual companion piece to 'Mortal Kombat.' So if you're seeing 'Mortal Kombat,' I hope you're also seeing 'Together Together' 'cause they are very similar films.
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