A Quote by Raul Garcia
The biggest problem in countries that don't have a tradition in animation or a film industry, is that precisely, that it's not an industrial activity as it is in Hollywood where there are clear production procedures. Because of this we all become snipers making our films any way we can and crossing our fingers to get distribution so people can see them.
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Hollywood is a film industry, a film business. I don't approach my career in that way. I see it as 'art,' and I become involved in films that ring my bell.
We've got to get our drug industry back. Our drug industry has been disastrous. They're leaving left and right. They supply our drugs, but they don't make them here, to a large extent. And the other thing we have to do is create new bidding procedures for the drug industry because they're getting away with murder.
I'm not criticizing Hollywood because I work there, I partly live there. But I'm saying this is the way it is, commerce is taking over art. Commerce has become the most important thing in the film industry. Hollywood is an industry, it's not an art form, therefore they have to address the bottom line. But in a way it's sad when you get a remake, isn't it?
Film is universal. All the countries of the world are making films. Hollywood is the only major unsubsidized center for films. To my knowledge all others are at least partially subsidized. I'm glad Hollywood isn't.
Where I come from, it's a little bit like England. We start from the theater, and we do films a bit on our free time. The history of making films in Scandinavia is so old, it's like the oldest. The Nordic film industry started before Hollywood in Stockholm in Copenhagen.
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.
A lot of people ask me, if I aspire to do films in Hollywood. If I get a chance, I would love to. But I feel that I owe it to my upbringing and the cinema I grew up on, to achieve something first in our film industry, and then venture out.
There will always be big companies making big movies. But making film and distribution is changing in front of our eyes. I'm not sure what the future holds for this industry.
People often ask us what we get by our frequent travel to countries. I want to tell them we do not travel to have fun; we travel to build our relationship with other countries, and it is because of our ties with these countries that we were able to rescue 7,000 people from Yemen.
With the old economics destroyed, organizational forms perfected for industrial production have to be replaced with structures optimized for digital data. It makes increasingly less sense even to talk about a publishing industry, because the core problem publishing solves — the incredible difficulty, complexity, and expense of making something available to the public — has stopped being a problem.
Like the way we get to know about the society of Korea, Iran, and other countries through their films, people will get to know about our country. Our films are a mirror of our society.
If you look at film, distribution is pre-bought. If you've paid for the distribution, you say, 'I have to make sure it's a film that gets enough butts in the seats.' I think that's the problem: It becomes prohibitively expensive, and you can't develop films for a smaller amount of money.
However, if we leave the industrial machinery and their energy-distribution networks and leave them also all the people who have routine jobs operating the industrial machinery and distributing its products, and we take away from all the industrial countries all their ideologies and all the politicians and political machine workers, people would keep right on eating. Possibly getting on a little better than before.
I think the problem I have with films is that, because there's so much hype around them, they become bigger than they should be, really. There are things that people do every day in their little workshops that they'll take to heaven with them. You've got to realise that it's not everything, making films.
The foreign audiences are somewhat surprised and happy to find an American film that asks questions about American culture. There's a certain kind of cultural imperialism that we practice. Our films penetrate every market in the world. I have seen and have had people reflect to me, maybe not in so many words or specifically, but I get the subtext of it - they're somewhat charmed and surprised and happy to see an American film reflect on our culture. Because they see other cultures reflect on our culture but they don't see US culture reflecting on itself in quite the same way.
Unlike someone like Tom Hanks, or U2, the comics industry is not a thriving industry and we all need to keep and expand our audience. The best way to do that is to keep the fans we have happy and to keep them excited about our next projects so they'll keep following our work. The best way to do that is to continually engage them in conversation. I don't mean to sound flippant by any means. We're not being nice to our fans because we have to.
