A Quote by Philippe Falardeau
I think it's the same thing for a country. We are lucky then that we can get some financing from the government, because it means when I get the money, when I get the grant to do the film, of course it's based on the script, but I have total artistic control and I can do personal stuff.
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As soon as you start making a film that's expensive then the studio wants total control over all elements of it because they want to get all their money back. If you make a smaller film you can try a lot more things because you can have control over it and not just be a hired director. The lower the budget the more freedom you have.
In fact, the difference between creative and interpretive, it all starts with the writing. Then if you can get the money together to make the film, then you're in touch with the visuals and the actual creation, and the sound of what you want to mean. Of course, some directors get inspired by what people do anyway. Don't feel the need [to stick to the script]. In fact, they sometimes go "That's not what I had in mind, but that suits the purpose well.".
It's not like you do 'SNL' and then get handed movie roles. You work, you audition for stuff and try to get it. I think, a lot of people, it's the goal to be in movies or just to be working in general. But yeah, some of us get lucky and get some movie roles, and it's nice.
A lot of documentaries have been made very quickly, but I think they're like frogs in an ecosystem: They're harbingers. Film is always two or three years behind, because it takes so long to write a script, get financing, and get it made. It just takes a while. But I think it's coming. It has to.
I love filmmaking because it's like harvesting as a farmer. I have an idea, I get the financing, I write the script and then cast and shoot and edit. Then there is opening night, and after that I get another idea.
Even after I had just done Twilight, which made $400 million at the worldwide box office, I could not get financing for three or four projects that I really loved and I thought people would love because they didn't fit some studio or investor's model of thinking, "This will definitely make money." It's a business and a film does potentially cost millions of dollars, and they have to think that they're going to get their money back somehow.
Terrorists are linked to money laundering, dirty money, drug dealing, arms trafficking. We have to ask ourselves, where do terrorists get their weapons from? Where do they get their communication technology from? Where do they get their financing from? These are some of the aspects where I think the entire international community needs to come together and put a complete stop to access to these three key aspects by the terrorists.
I think I'm an actor. You can hire me. I can do a good job. But you also have to get lucky now and then. Every film-maker knows how hard it is to do a good film. You have to just make many, and see how lucky you get.
The creation of a film starts with an idea, a notion of a time period or characters, and you get really excited about the idea, and sell it to others if you need their support to write the script. You can't wait to get started, and then you try to start, and you struggle with the blank page, and you get some ideas, and they're bad ideas, and you write bad stuff. It's really bad.
A lot of the time the film chooses me. I'll be working and I'll get a call from my agent and I'll get the script and then tell him what I think.
So it's a dangerous thing and conversely, the other thing I mentioned in that post was that people see guys who are kind of in touch with that and become famous for it and then think maybe they can get in on it. Maybe they're not quite as cynical as that and there's some sincerity about them, but they don't really get it so they just imitate what they've seen from people who've done it before and of course you can make big money that way.
The great thing I think when you do independents is that people are really there for the same reason. They're not there because they got a lot of money and they want to just go home and get it over with. They're there because they believe in the script or the director or the cast or whatever it is, and they want to make it work.
There's a saying that we use in golf: "I'd rather be lucky than good." Of course, to be lucky and good is the ideal. If you study hard, you can get good. And if you get lucky and get the proper parts for people to be able to appreciate what you're doing ... I'm sure there are many actors that are quite talented who have never been a success because they've never had the right opportunity and the right material. My mother used to think I had a guardian angel.
In government they learned their lesson. They don't trust artists anymore. Now the money has to go through arts organizations. But, yeah, back then you could get a grant, and I got $5,000 - a huge amount of money.
I think if you feel weird and self-conscious about that kind of stuff - which happened to me at some points - that means your ego is really kicking in. You can understand how people get to be assholes in music business because it's like you're getting pumped full of your own thing so much, you get ungrounded. That's a dangerous place to be.
The big thing is I'm not with a major label. I've been independent since the get-go, and I've been very lucky to get some good advice on keeping hold of copyright and that kind of stuff.
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