A Quote by Rufus Sewell

I'm in a position where I'm being continually knocked back for the kind of independent films I want to be in because people don't know who I am. — © Rufus Sewell
I'm in a position where I'm being continually knocked back for the kind of independent films I want to be in because people don't know who I am.
Going forward, I would love to work with directors like Rian Johnson and Joss Whedon; people like that who are doing big films but do have really independent voices. That's kind of what I want to focus on, is always working with people with at least an independent point of view, even if it's not an independent film.
After directing the first film it feels kind of tricky being back to being in front of the camera, because I've always got one eye over there, kind of thinking of what they are doing, and how the shot is being composed. I think it takes a couple of films to just get back to just being an actor.
It is not a shame to be knocked down by other people. The important thing is to ask when you're being knocked down, 'Why am I being knocked down?' If a person can reflect in this way, then there is hope for this person.
I am so picky about what films I get myself into because it's such an explosion of energy and commitment once you get in there, you destroy your life until you deliver these films. I never want to be in the position of making films that won't be a great use of 90 minutes of someone's life.
Independent films in this country are in the same position. Miramax and Fine Line are not independent - they're with Disney! Come on. Or they're with Warner Brothers. They're all with somebody.
They didn't want Donald Trump to win. They didn't think he was gonna win. They never thought they would be in this position. They may not even like being in this position because they don't want this kind of pressure on 'em. They don't want to have to move his agenda. The Republicans in Washington are identical with the Democrats when it comes to the big issue, and that's immigration. Both parties want amnesty.
We know what kind of music people want to listen and we are doing the same with films. We know what kind of stories people want to see. Earlier people had tagged us that T-Series only does musicals but now that label has gone away.
The vampire or the bad guy, that's what people do remember. Lars von Trier, like Guy Maddin, their films are made for a group of exclusive people who like special films. And they are special films, they are art films. And I started with commercial films at the beginning, and later on, because you know, when you are an actor, you have the same cliché like everybody else, you want to be in big films, you want to be known and all that.
I like to work with people who want to make films because they are passionate about films and not because they want to sell films and make money. I am not for people who get the most saleable actor and then the most saleable director and sell the film.
In the beginning, it wasn't even a question of deciding I'm going to do independent film and not commercial films - I wasn't being offered any commercial films, and there wasn't an independent scene.
There is a sort of creative purity in an independent film, in the passion of the director, the passion of the crew. They're not getting a whole lot of money, so you know they are not there because they want to get rich. Instead, they are there because they want to make a movie. In the bigger films, I remember when I used to do those, it's just a job for a lot of people, so there is less of an intense energy devoted to the whole project.
The enemies of our people have chosen the moment when I am knocked off my feet with sickness to stab me in the back because they know what the territorial integrity, national unity and the dignity of this great Zaire mean to me. I have devoted my life to defending these sacred values.
You know, independent films have been institutionalized, practically. Every studio has got a boutique arthouse label. There's like, 18 different independent film-financing funds. In fact, I think the children of those films are getting made. A more interesting question is whether those films are going to get seen and appreciated.
Films exhaust me, they do, and I often want nothing more to do with them, but I'm continually surprised at the resurgence of the impulse to come back and do it all over again.
I've made a number of independent films that didn't receive theatrical distribution, that a lot of people haven't heard of, and as a result, I've conditioned myself to go into small independent films with the expectation that they will not, and therefore, I have to find my reward elsewhere.
Bollywood didn't know what to do with me. And I didn't know what to do with it, because I didn't want to do its kind of films.
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