A Quote by Rudolf Buitendach
It was a tough film ["Selling Isobel"] to make anyway, because we had limited resources.
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The incident itself happened in London, but because we were all based at the time in Los Angeles we moved it there. Certain details are almost exactly like the true experience, but we decided to make the film more of a thriller, in the hope that it would reach a bigger audience. That's why it's called "Selling Isobel" and not "Selling Frida." We didn't want to make a dark, depressing "movie-of-the-week."
We reached a compromise [in film "Selling Isobel" ] - arty on the one hand, raw and crazy on the other.
It's my story ["Selling Isobel"].I chose to write a screenplay about it because I think film is the quickest medium to get a story out, rather than writing a book.
I considered writing a book too, but I think people don't like to read, to be honest - they want to watch. People want to see crazy things, so we decided to make a film ["Selling Isobel"] instead.
[The Raindance film festival] is literally the first time we've ever screened the movie ["Selling Isobel"] to anyone, and people are a little bit traumatised by it.
My supporters and family have limited resources, very limited resources; but the FBI has the unlimited resources of the most powerful government in the world today. It's amazing that they haven't successfully had me assassinated since I have been in here. There have been plots uncovered in the past that I know of to have me killed.
We took a fair bit of liberty with the story, but the basic premise of the film ["Selling Isobel" ] - a girl is kidnapped on the streets of a city and held captive for three days and two nights while various men show up and exploit her - is the exact truth.
Resources on the planet are limited, and limited resources can come to an end. But there are also a lot of resources that are renewable. A lot of land, for example, can be reclaimed from the encroaching deserts.
We thought by setting the film ["Selling Isobel"] in the cloak of... let's call it an indie-Hollywood thriller, it would appeal to a wider range of young women who would see this cautionary tale and say, "Hang on, I've got to think twice about what I get myself into."
I don't make movies. I don't feel that I have to have artistic control. Part of this comes from the fact that the book lives on no matter what Hollywood does to your novel in terms of a film. Now, you try to be careful who you allow to do your film because nobody wants their novel to become a turkey movie. But, on the other hand, it is a crapshot anyway, because even the best people can make a bad film.
'Tangerine' was less than half the budget of 'Starlet,' and 'Starlet' was already a microbudget film. A director always wants more time, and we had a limited amount of resources.
I was lucky with my first film because it had Warhol in it. That was the selling point.
I'd never make a film that I am not passionate about. My whole life, I've only made the films I wanted to make, even when I had limited means.
I went there anyway-knowingly, willingly-because I wanted a number one hit. I wanted what Metallica had, even if it meant selling a piece of my soul to the devil.
I grew up in the South Bronx, raised by my grandmother, who scrapped and scraped to make sure I had a roof over my head and food in my stomach. I was painfully aware of what it was like to live with limited resources and a certain level of uncertainty.
Attention spans are so limited and ticket prices so high. We're anyway in a business of manipulating emotions. But each film needs to be positioned truthfully so that people don't feel cheated.
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