A Quote by Sophia Loren

At this moment, everyone is in crisis, not only in Italy but all over Europe. Only in America do they make films that are successful all over the world. In Europe, production is quite poor. We have three or four or five films, which is not enough.
The world has changed around Europe. It is not only the migration crisis that has shown Europe is not up for challenge.
But, I've made films in Japan, in Yugoslavia, all over Europe, all over the United States, Mexico, but not Hollywood.
There's many more films being made in America than there are in Australia. You make four hundred and fifty films a year, we make twenty-five.
Tokyo is wonderful for distribution of international films, a lot of Iranian films, Taiwanese films. But most of the art films are from Europe and Asia.
If we make films only for the frontbenchers, we can't make money. Hence, we have to make it for a majority audience. As my films are mass films, I deal with emotions in raw form - they are not subtle. I don't mind being branded. That does not mean I like only those kinds of films.
With excessive digitisation, now, everyone is making films, which is good, but the makers think that they will quickly make films in digital and bag satellite rights but television channels buy satellite rights of notable films only. If we made fewer films a year, percentage of hits would be better.
In America, they shoot budgets and schedules, and they don't shoot films any more. There's more opportunity in Europe to make films that at least have a purity of intent.
I'm coming from an artistic background, from Europe, making films with Lars Van Trier like 'Breaking the Waves,' 'Dancer in the Dark,' all his films, 'The Kingdom.' But I like both, I like the totally artificial, commercial films where the actor has five or six bodyguards, I like that.
But the whole history of America is quite different from Europe. People went there to get away from the intolerance and constraints of life in Europe. They sought liberty and opportunity; and their strong sense of purpose has over two centuries, helped create a new unity and pride in being American.
Now, after the communist take-over in 1948, the amount of feature films produced dwindled to three a year, while the school was, you know, every year another three, four, five students.
The difference between working on Asian and American films is in the producer and director; everyone has their own style. But, Hollywood has a lot more money; they can spend a lot on films, and time. In Europe, there's a small budget and thinking about commercial. Only budget and taste is different between there and Hollywood.
I've made a dozen films in the English language. But then, for love, for my family and friends, I returned to Europe... I annoyingly - looking back - turned down films like 007, 'For Your Eyes Only,' written specially for me.
[John] Adams's perception of Europe, and especially France, was clearly different than [Tomas] Jefferson's. For Jefferson, the luxury and sophistication of Europe only made American simplicity and virtue appear dearer. For Adams, by contrast, Europe represented what America was fast becoming - a society consumed by luxury and vice and fundamentally riven by a struggle between rich and poor, gentlemen and commoners.
My production company wasn't doing well, so we were not producing films. Over a period of time, we have realized that we are going to produce our own films and make cinema that we like. We've got so much in-house talent, and my kids are going to be coming, so we all decided that we are going to be in films and cinema.
Though others before him had triumphed three times, Pompeius, by having gained his first triumph over Libya, his second over Europe, and this the last over Asia, seemed in a manner to have brought the whole world into his three triumphs.
Kaante' will help the film industry. Very few films are like this one - pre-production in Europe, one-schedule shoot, well planned post-production.
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