A Quote by Ryan Fleck

Anytime you actually finish a film, I think it's a success. And to have that film seen and liked by audiences is the ultimate. — © Ryan Fleck
Anytime you actually finish a film, I think it's a success. And to have that film seen and liked by audiences is the ultimate.
You finish a film not in the editing, but in the conversations that audiences have with themselves - and in that sense, every viewer is making a slightly different film. And that's wonderful.
There's a forgiveness that literary audiences will give you that film audiences don't give you. It's the two hour construct. You're in there and it needs to climax and finish.
You know, in an ideal world, people would just be intrigued and go and see a film without knowing anything about it, because that's where you're going to have the most experience of a film, the biggest, the most revelation of a film. But at the same time, I think there are benefits of having seen a trailer where you actually look forward to seeing moments in a film knowing that they're coming up. I don't know which is better.
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.
I went back to Dallas for a little while to finish my short film 'Rusty Forkblade.' It was not the instant success I thought it was going to be. There's a false narrative that if you make a short film right after senior year, you'll be plucked out to make a feature length film, and the rest is history. I didn't do that.
I'd never read 'Prince Caspian'. I watched it and loved that film. Everybody was talking about its lack of success; its relative success in comparison to the other film. It's a great film. It deserved to do a lot better than it did. It's very difficult to make a film that will match up to the first.
I think anytime you can do something you haven't seen or done in a film before, it's always a great day as an actor.
You learn quite a bit about your film from test screening audiences. With both comedies and movies that are intense, you need to calibrate the film and see how audiences react.
The biggest lesson we took was when Werner [Herzog] said in a meeting with us that the mother of all challenges is to get your film seen in theater. To finally share this film has been so gratifying. The way audiences have responded, too.
When I begin a film, I want to make a great film. Halfway through, I just hope to finish the film.
I pretty much believe that a film is a film and when an audience watches a film, they finish it.
If you give an answer to your viewer, your film will simply finish in the movie theatre. But when you pose questions, your film actually begins after people watch it. In fact, your film will continue inside the viewer.
The new Bond film, will be a big, big hit, because every Bond film is an event. Fathers take their sons to it; probably grandfathers. It's been a long time, and I think that the success of Bond is because the audiences have never been cheated by the producers. They always spend every penny, put it on the screen, and then the things that people expect to see in a Bond film - big action scenes, glamorous ladies - it's pure escapism.
I think that too often we, film directors, think that a big epic novel and feature film are the same. It's a lie. A feature film is much closer to a short story actually.
I don't think you can be involved in film and not be a fan of theirs. The one that I just go back to and can watch anytime it's on TV and I'll watch to the end, is Fargo. I think it's, like, a perfect film, it's genius.
I'd say the film to avoid is a director's second film, particularly if his first film was a big success. The second film is where you've really needed to have learned something.
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