A Quote by Richard Linklater
I want to make a film about a factory worker.
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You don't want to say somebody did a great job of acting. You want to say, "Where did he find that person? How did he get that factory worker to come out of the factory and be on camera?" You want to believe that person is real.
One day I heard a speech of Hitler. In this speech he said that the German factory worker and the German labourer must make common cause with the German intellectual worker.
If you're going to make a film about rage in 2018, 2017... If you're going to make a film about revenge and anger, I feel like that has to be a film about women. I don't really want to watch a film about angry men. I've seen way too many of those.
I want to make a period film, I want to make a film set in another country. I want to make a foreign film. I want to make everything eventually. I am a storyteller. I have many stories to tell.
I want to make another film. I want to make a better film about the legendary Babaji, with more close-encounter stories of people who have been with him.
Those are the films I want to make. I don't want to make a film about, "Oh, those poor prostitutes!" Or "Oh, isn't it terrible in Chicago!" I want to make a film where people think, "Brenda's like me!"
Legacy? I'm a worker in the factory; all we care about is today! A legacy... what a bunch of baloney.
The thing about film is that your eye is selective. Film isn't. You have to make film do what you want. Simply photographing something doesn't do it. You have to know how to apply light and know what it does on film.
My decision is that 'Mr. Ya Miss' will be my last film with Factory. I don't want to spend more time with something which I don't want to do.
When you decide you want to make a film, you start listening to everything that anyone has to say about filmmaking and reading everything, and there's a maxim about film being a visual medium, and so you need to make, in a sense, a silent movie and layer on dialogue.
There is nothing a worker resents more than to see some man taking his job. A factory can be closed down, its chimneys smokeless, waiting for the worker to come back to his job, and all will be peaceful. But the moment workers are imported, and the striker sees his own place usurped, there is bound to be trouble.
For the blue-collar worker, the driving force behind change was factory automation using programmable machine tools. For the office worker, it's office automation using computer technology: enterprise-resource-planning systems, groupware, intranets, extranets, expert systems, the Web, and e-commerce.
You want the film to be critically successful - you certainly want the film to be financially successful so that you can...well, because that's how movies like this are made, you know, they need to make money. But as a director, you can only make the movie that you want to make.
The message is that all brilliance emanates from the top; that the worker on the floor of the store or the factory is insignificant.
I'm in show business. I'm not like a poor factory worker who'd been laid off.
A film like 'Good Night And Good Luck,' you make that for $7 million because you know it's a black-and-white film, and it's not an easy sell. If you make it for $7 million, then everybody can have a chance to make a little bit of money, and you get to make the film you want to make.
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