A Quote by Peter Berg
Generally, studios are adverse to making films about war in the Middle East. They'd much rather make a film with a superhero or an alien or a robot.
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I had no confusion about making a superhero film. From the very day one, I knew I will make a movie of this genre which will have an Indian superhero. I never wanted to copy my superhero from any of the Hollywood ones.
I think the public is very reluctant to get involved in more foreign wars, especially in the Middle East. And they understand, implicitly, that we go to war in the Middle East because of oil. And if we don't want to go to war in the Middle East, then we have to do something about the oil problem. And I think that view is gaining ground in the U.S.
I like to think I'm making films in the film business where movies are making enough numbers for the studios to let me keep working, but you also want those films to have content that makes you proud you made the film. That's not easy, but it's a fun puzzle to figure out.
Most American films have now become mindless. The human element has been removed, so you are just left with the surrogate human, which is the robot, so coincidentally or, rather, ironically, they are making films about robots, without realising they are talking about themselves.
I wrote and finished the script for 'Man in the Middle' two weeks after the September 11 bombing. It's a very American film about an ex-diplomat based in the Middle East, a leader in the U.S. administration who now sells used cars in the Middle East.
Movie studios aren't making too many dramas anymore; they're in the superhero business. Material for television is much, much stronger for actors now.
Rather than making that a good project, I like to make the kinds of films that children can understand in five minutes what the film is about.
The perception that 'Indians can't make superhero films' needs to change. We can make superhero films in the budgets given to us.
The film studios learned to our dismay but to their pleasure that if they spent $200 million making a film they could make half a billion on it. So they were not interested anymore in quality films... They can't afford to be that risky at those prices. Consequently you're getting a lot of remakes, sequels, dopey comedies full of toilet jokes...
I think of horror films as art, as films of confrontation. Films that make you confront aspects of your own life that are difficult to face. Just because you're making a horror film doesn't mean you can't make an artful film.
There have been innumerable films about film-making, but Otto e Mezzo was a film about the processes of thinking about making a film -- certainly the most enjoyable part of any cinema creation.
I'm not making films for middle aged journalists, who are mostly men. I make films that hopefully entertain people, where they can learn something about life.
People say, "How do you get into the British film industry?" There is no British film industry, there are just people making films and finding their own way. It's not like in the States where there are studios and there's an actual infrastructure to it; there's just nothing here. You make it from scratch a lot of the time.
In 1993, my first documentary was about the civil war in Algeria. That was in French and in Arabic. Another short film I did was silent. What I'm trying to say is that, yes, I'm Italian, and yes, I make films with Italian money, but personally, I've always been invested in the broader world of film-making.
So much of what we see and hear about the Middle East focuses on what we call politics, which is essentially ideology. But when it comes to the Middle East, and especially the Arab world, simply depicting people as human beings is the most political thing you can do.
People talk about making art films - experimental films. I can make an art film every day of the week. Nothing to it. What's difficult is to combine a commercial film with art.
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