A Quote by Russell Brand
What I liked about it is in the world of children, there are very, very different rules and a kind of naivete and innocence and sweetness that's been beautifully captured, I think, by this film as you can even see gesturing toward the film's poster on display nearby from this gorgeous artwork.
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I think, for me, Julian Schnabel set a great precedent in being able to cross over so successfully. I feel like his artwork is kind of big, grand, and bombastic, yet the films that he makes are very beautifully sensitive, and I just feel that his filmmaking sensibility is very different from his artwork.
For me, each book is kind of like a silent film. If you were to remove the words and just look at the pictures, you should be able to tell what the story is about without having to read a word of text. That's what I think I brought from doing artwork for film to doing artwork for books.
I liked 'The Help,' and I love Viola Davis. But I didn't think that film was a great film; I thought that was a very uneven film. I thought the Southern women were so caricatured that it was kind of like 'Harper Valley PTA' or something like that.
When I see 'Sunshine,' I see a film that part of me is kind of very proud of and another part of me is very sad about, so it's a really complicated film for me. And I've never been really able to resolve all that in myself.
For film, you know, the Tarantinos and Nolans of the world who are very focused on a certain kind of film aesthetic and a certain kind of presentation, to be honest, that comes from a place of privilege. It comes from a place of always having access to such, but when you ain't never - you can't see it because you can't even get to it.
I came from a very avant-garde documentary kind of film making world. I like cinema verité, documentaries. I liked non-story, non-character tone poems. And that's the film making that I was interested in.
I left film because I felt that photography was my art. It was something I could do on my own, whereas film was so collaborative. I thought as a photographer I could make something that was artistic and that was mine, and I liked that. And it wasn't until I got back into film and I have very small crews and I could do very tiny filmmaking that wasn't 100 people that I still felt that I was making something artistic as a filmmaker. So, you know, I'm an artist, and whether it's photography or film, I want my voice to be there and I think my voice is very strong in this film.
I'm somebody who is very, very proud to have been a part of the British film industry all my life and to have kind of been involved with a very important piece of British film history.
It is very, very, very difficult for an American actor who wants a film career to be open about his sexuality. And even more difficult for a woman if she's lesbian. It`s very distressing to me that that should be the case. The film industry is very old fashioned in California.
Close-Up is a very particular film in my oeuvre. It's a film that was made in a very particular way; mainly because I didn't really have the time to think about how to go about making the film.
Film writing and concert writing are two very different things. In film writing I am serving the film and it tells you what to write. I have to stay within the parameters of the film. In writing concert music for the stage I can write anything I want and in this day and modern age rules can be broken.
You make a film and you can't really pick the way it's put to the public. You control the content, but the way it's marketed, or the poster, or what they're telling the public about the film, it's beyond you. Some people don't even see them, because they think they already know it. That can be frustrating, when something you've done is marketed in a way you think is antithetical to what it is.
I think it's very important to get this stuff on film, not just the behind-the-scenes of the process, but also the interviews with the women. We're going to try to do some on-the-street filming, getting people's reactions to the work, and seeing if we can get some street harassment happening on film so people can see what we're talking about. It's important to have some type of documentation so people can see what happens when we create this artwork and why I'm creating it.
I've been lucky enough to get a taste of the feature film world, the TV world and Broadway, as well, and see what everything is like. For me, it's very much about the character and how different it is from something I've done earlier.
On one level, this was the biggest challenge out there - to make a film of this scope, in this amount of time, and to go into a different genre, essentially. Yes, I've done a vampire film, but 'Eclipse' is a very different kind of thing. This is a romantic story, which swings from a darker, more abject feeling to very pure romantic scenes.
You see the film, you might be entertained, and if it's not a great film, it loses its power very quickly. I think even simply acceptable books stay with us a lot longer.
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