A Quote by Rhys Ifans

On a conventional film, you do one take, and if it's good, they say, 'Let's do another one for insurance.' — © Rhys Ifans
On a conventional film, you do one take, and if it's good, they say, 'Let's do another one for insurance.'
If the film isn't in some way going to study behavior then I'm not interested, but the reason why I'm not interested in directing in film is that it would take me, to be as good an artist as I feel I am an actor, it would take me another 35 just to conquer.
Wal-Mart workers make just over $8 an hour, and they must pay more than a third of their health insurance premium if they choose to take the company's insurance. That means just about half of them don't choose to take the health insurance because they can't afford it.
Ramesh Ponnuru and others say Obama is a conventional liberal. But conventional liberals don't come out for the release of the Lockerbie bomber. Conventional liberals don't return the bust of Winston Churchill from the Oval Office. Conventional liberals don't block oil drilling in America while subsidizing oil drilling in Brazil.
Advertising is the best insurance that you can take out on your business. You can buy fire insurance on your stock of goods, but no company will issue a policy covering your business, the good will as they sometimes call it. You must insure yourself, and the best way to do it is by advertising. Good advertising kept up for a number of years gives you something that no fire can take away.
To shoot a conventional film means that you are always covering yourself. You are putting nets and, in a way, letting bad decisions take over.
Every single Pixar film, at one time or another, has been the worst movie ever put on film. But we know. We trust our process. We don't get scared and say, 'Oh, no, this film isn't working.'
I have no issues if audiences don't like a film or a performance, and the film doesn't do well. My problem is when they say that the film was good and performances were excellent, but the film didn't run. I have a problem when that happens.
On another level this film talks about that. We had tremendous freedom while making this film. We never thought about marketing. It wasn't a film made to sell merchandise or products or to reach millions of people around the world. It was a film made to say what I really felt.
The premise of insurance is to spread the risk. It's the premise of homeowner's insurance, of car insurance, and of health insurance. It's one reason why it's important to have insurance when you're healthy, so that when you get sick, you won't go sign up just when you get sick, because that increases the cost for everyone.
My last experience of film-making was Tickets, a three-episode film in Italy, the third of which is directed by myself. It's not for me to judge whether it's a good film or a bad film, but what I could say is that nobody had a cultural or linguistic issue with what was produced.
Now I realize that I have to let everyone take what they have to take from the film. No matter what I think about the film, it becomes a little irrelevant. I think I would say that the film is trying to show us that - and I spoke about that earlier - we have to let the teachers invest in their own classroom. There's no use in trying to control everything. Education is fundamental.
I want to say something in a tough-love kind of way about crop insurance. Let's face it: You don't buy insurance on your house hoping it will burn down. Neither do we want to buy crop insurance and hope our crop fails so we can file.
I think it's like the '60s - we're going to see another revolution in film where these new filmmakers stand up and take ownership of what film is and mould it into what they want.
How do commercial interests usually protect themselves from liability claims? Through insurance. In fact, in our society, the litmus test for safety is insurance. You can be insured for almost anything if you pay enough for the premium, but if the insurance industry isn't willing to bet its money on the safety of [biotechnology], it means the risks are simply too high or too uncertain for them to take the gamble.
You should always make it like it's your last film. That's my personal belief. Every filmmaker is going to have another belief... That's the only way I know to try to make a film that might be good. You got to take it real seriously like it's your last thing.
I've always believed that if you want to really try and make a great film, not a good film, but a great film, you have to take a lot of risks.
This site uses cookies to ensure you get the best experience. More info...
Got it!