A Quote by Signe Baumane
I guess for major film industry players a film is a money making devise, so using formulas assures them that their investment will have returns. A lot of big studio films are created by formulas and committees, stripping away any individuality or personality from the work so that they could appeal to most everyone on there planet but to no one in particular.
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Many thrillers follow such reliable formulas that you can look at what's happening and guess how much longer a film has to run.
I guess, you make a big studio film, you spend a lot of money on it and you hope people go see it. It's really risky.
What's nice about writing and making films is that being able to see a film from the outside - from the inception through production and then completion - just informs what you're doing when you're an actor. And when you're an actor, it informs the decisions you make when you're making a film. It's using two different sides of your personality.
I enjoy the making of the film and it's something for me to do. If nobody ever comes to my films, if people don't want to give me money to make films, that will stop me. But as long as people come all over the world and I have an audience and I have ideas for films, I will do them for as long as I enjoy the process. And I like the whole process of making a film.
I guess people feel that if you're working with good directors and are known in the Hindi film industry, then you won't work in South films. However, I believe that films have no boundaries of language, religion, or cast. If it's a good script and a good director, I can do a film in Spanish as well.
There have been innumerable films about film-making, but Otto e Mezzo was a film about the processes of thinking about making a film -- certainly the most enjoyable part of any cinema creation.
When the film industry moves to the 21st century, there should be no doubt in anyone's mind that the money used in film-making is clean and devoid of any underworld connections.
On a studio film, you don't have to worry about running out of film or messing up your costumes; you have five other sets of it. Studio films make you the most comfortable so you can just act.
A lot of the reasons that I'm resistant to making films in the U.S. have nothing to do with not doing a film in Hollywood, but rather to do with what I'm committed to working on in the U.K. I feel very committed to the British film industry and infrastructure.
When I start on a film I always have a number of ideas about my project. Then one of them begins to germinate, to sprout, and it is this, which I take and work with. My films come from my need to say a particular thing at a particular time. The beginning of any film for me is this need to express something. It is to make it nurture and grow that I write my script- it is directing it that makes my tree blossom and bear fruit.
There can be no formula in arts. Formulas are for factory mass productions. There are no discoveries in already discovered formulas.
In the industry, you do need some ethics - if one film does well, then thousands get work and money comes back to the industry. I guess the bottomline is, if there are two versions, then the better one will click.
Most films I work on, the people making the film are constantly second-guessing the executives of the studio, the producer, and the audience. It is very hard to accomplish anything in that situation.
People say, "How do you get into the British film industry?" There is no British film industry, there are just people making films and finding their own way. It's not like in the States where there are studios and there's an actual infrastructure to it; there's just nothing here. You make it from scratch a lot of the time.
It's a strange place where the film industry is at. I guess you could just play superhero after superhero. That seems to be the only guaranteed big-money thing. I don't know.
All I ever hoped for was freedom of choice and to not have to just do work because I needed to pay the bills. If you can, weave your way into a studio in a situation where it's supportive of the other work you wanna do. Also, there is caliber and weight in studio films, and I think the ideal is to get that balance right: Do a studio film, go away and do something that is smaller.
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