A Quote by Penelope Ann Miller
Harvey Weinstein bought our film, and he's an animal. He's got us out there campaigning and everything because honestly it's a silent black-and-white film.
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The film you know as 'Super Troopers' is a film that almost didn't happen. The script was originally commissioned and developed by Miramax, but when it failed to get a green light, Harvey Weinstein was kind enough to give it back to us so we could make it elsewhere.
I learned some big lessons on my first film, a horror film which was never released in the U.S., even though we sold it to Harvey Weinstein for a lot of money.
They say now in America that final cut doesn't mean anything. As Harvey Weinstein said to some film-maker, 'You can have final cut. I'll open your film in Arkansas.'
Ever since I made the short film 'Black And White,' which had almost no dialogues, the idea of making a silent feature film fascinated me.
When I switched to screenplays - 'cause I had done musicals and plays - the first assignment in film school was, you have to write a silent film. And it's tremendously helpful to learn how to do that because dialogue can be a crutch. If you can master a silent film, you're golden.
If you are going to call a film a 'black film' then you have to make a film that represents everyone that's black, which is almost impossible. That is why white films are not called white films, they are just called 'films.'
Up until the middle to late '60s, it was a choice to film in black-and-white or color. But then television became so vital to a film's finance, and television won't show black-and-white. So that killed it off, really.
To me, a poem that's in rhyme and meter is the difference between watching a film in full color and watching a film in black and white. Not that a few black and white films aren't wonderful. So are certain successful pieces of free verse.
'Black film,' unless it's lucky enough or creative enough, or timely enough to build a life of its own, hangs subjacent to 'white film' on Hollywood's financial score board... aided and abetted by the supposition that so-called black film has no foreign market.
Here's the thing. We do a movie with a predominantly black cast, and it's put in a category of being a black film. When other movies are done with a predominantly white cast, we don't call them a white film. I'm trying to remove the stigma off things they call black films.
I made the film in spite of Harvey, not because of Harvey.
It will be difficult if people can't get past their prejudices; I don't mean Black and White; I mean people automatically assume because a film has a predominantly Black cast, that it is a particular quality of film.
The silent film has a lot of meanings. The first part of the film is comic. It represents the burlesque feel of those silent films. But I think that the second part of the film is full of tenderness and emotion.
I thought 'The Artist' was a perfect way to find a good balance. The artistic challenge is obvious because the film is black-and-white and its silent, but I did my best to make the movie accessible and easy to watch. I really don't want to make elitist movies. I really try hard to work for the audience. Audiences are smart. They get everything.
If you ask a filmmaker to analyse his own film, it would take three or four years to do that, honestly. Because when you make a film, you have to be convinced about it. You are married to that film for a year.
As the entertainment industry became more corporate and MBA-driven, Harvey Weinstein remained an unreconstructed specimen of the worst and most compelling character traits of a truer Hollywood. Harvey, and in a sense only Harvey, continued to embody the Hollywood self.
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