A Quote by Ralph Bakshi

My good films were independent and my bad films were not. — © Ralph Bakshi
My good films were independent and my bad films were not.
Richard Donner made great movies. Seminal movies. The Academy, though, and we have to be careful here, should recognize popular films. Popular films are what make it all work. There was a time when popular movies were commercial movies, and they were good movies, and they had to be good movies. There was no segregation between good independent films and popular movies.
There were a lot of people dreaming about making films, and they would finance maybe 6 films a year. Because they were funded by the government, the films sort-of had to deal with serious social issues - and, as a result, nobody went to see those films.
When I stopped making films, they were getting on to the more realistic films and the explicit films and all. They were depicting life as it is, and some of it was unpleasant. I gradually moved away from that.
Yes, a lot of European cinema and a lot of independent films and art-house stuff. She is a photographer. She is a visual artist and photographer and my dad is, too. My mum, I must credit for showing me good films. With my career, my parents were great and though they were a little wary, maybe, of the acting ambitions they have always been supportive.
You've got these big studio films and these tiny independent films now. It's very much either/or. With the independent films, it's always a beautiful risk - it might never be seen. With the studio films, you're conforming to the formula of what's always been in place.
I was originally a painter, and I made films sort of as an extension of that, and then I started to try to make dramatic films because the early films were experimental films.
When people around me were signing films, I would wonder why nothing good came my way. See, I wasn't desperate to do films, but I was desperate to do good films.
The films that I really liked and the ones that really blew my mind when I was younger were independent films. They're like great records to me.
Blaxploitation films were black films targeting black people. They were films made to appeal to a culture in a way that was supposed to be unfiltered.
I don't know what to expect out of my films. My first two films were with extremely talented directors, and they didn't work. And my next two films were with newcomers, and they worked well. So I've stopped expecting anything from my movies.
Good female parts are hard to come by, so I go all over the place to find them: cable TV, network movies of the week, foreign films, independent American films, studio films, the stage.
I was turning up at sets where inexperienced people were making these badly written films - but they were doing it; that was the point. They were getting their films out there. And they were paying me, so they obviously had access to money. I just thought, 'I can make something better than this.'
I was still making movies so it wasn't as if I were working in a bar, but they were independent films that couldn't find distributors.
I don't care about Hollywood films. I'm not against Hollywood films, you know? Hollywood films were very good before, in the 1950s.
The films that I loved growing up were the science fiction films from the late seventies and early eighties [films], which were more about the people and how they are affected by the environments that they are in. Whether they are sort of futuristic or alien of whatever they are; that was the science fiction that I loved. So that is what we tried to make, the sort of film that felt like those old films.
Free time keeps me going. It's just something that's always been a part of my life. I was originally a painter, and I made films sort of as an extension of that, and then I started to try to make dramatic films because the early films were experimental films.
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