A Quote by Paul W. S. Anderson
I don't make films for critics, and I'm not particularly interested in what they have to say, and they don't have a bearing on my audiences.
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Unfortunately for critics and audiences alike, I have made several films, and some films with really terrific actors. And I say this at my own peril, but Marion Cotillard is the best actor I've ever worked with.
Critics often say, 'Oh she makes films about strong women'. Wrong; I make films about complex characters and the choices they make.
I'm not particularly interested in working with movie stars. It depends on where you come from, I suppose. Why are you making films? The reason I want make films is because they convey ideas. I think some directors make films because they want to hang out with movie stars and be part of Hollywood. They want to be a star themselves.
Some filmmakers make films to please themselves and a handful of critics, so they get 5-star reviews but their films don't run at the box office. I make films for the masses.
I've always been interested in showing our films to international audiences. The easiest way is through the festival circuit, a big marketing platform for films that aren't big enough to be in the mainstream race.
Critics... They're like traffic cops. They say what they have to say, then leave, and another guy moves in ,and he has his say - and it's often just the opposite. The result is either critical acclaim or critical murder, and neither has any bearing on my music or direction.
In the olden days films used to become huge hits because of family audiences. But nowadays certain films cater to youth audience and once that is exploited then the film stops. and some films are for a mature audience. My aim is to satisfy all the sections of the audiences.
You hear again and again that audiences want to see movies that are different, and critics say we make the same thing again and again in Hollywood, then you go and make something different, and you get kicked in the gut for it.
You hear again and again that audiences want to see movies that are different and critics say we [directors] make the same thing again and again in Hollywood, then you go and make something different and you get kicked in the gut for it.
We did two films [Kung Fu Panda], because the first two films were so embraced by the Chinese audiences we wanted to make something we could push further and since this is a co-production, it seemed like the perfect time to create something that felt native to Chinese audiences.
I know, that trends and all of those things and formulae that calculate what audiences want to see and what audiences don't want to see and various other demographic demarcations are the eccentric and ludicrous prerogative of Hollywood studios. But out there in the real world - by which I mean the rest of the world where we make truthful organic films, independent films unimpeded by interference - it's not about all those sort of calculating what is commercial. It's about wanting to say things and saying them in a way that will get through to people.
I really think there's a difference between how men critics see things than how women tend to. And I don't want to make that - it's not a generality and I don't want to say that, but I just feel - I know I do the same thing. There are certain things that I just am not that interested in. Certain kinds of films - I just don't enter them.
I want my films to get audiences. I am not interested in making them just for myself.
A lot of gay-themed films are terrible. And mainstream audiences and the press aren't interested, understandably.
Since most of our films cater to crossover audiences, I think it's time we make films for multilingual viewers.
Meryl [Stripe]spoke out about the low percentage of female critics on Rotten Tomatoes. Why are there 760 male critics and just 168 women? You are immediately [biased] on what kind of films you are being told to go see. What are you told are good films? Male films.
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