A Quote by Steven Spielberg
Whatever affect any of my films have on audiences, I just kind of stop at the door. I make them and I just don't go outside after they're over.
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Just because I make films doesn't mean I think they're great. I just make them and then when I'm done with them I'm just a filmgoer like I always am. They're all lessons. I'm still in film school, honestly. And this one is just a dry run for whatever the next one is.
I love French films, and European films. They're not any bigger, but there's just a sort of definition, and a confidence, and strength to them. I'd always, given the option, go and see a French drama. Obviously, we probably get the better ones. But they're just sophisticated on many levels, and grown up, and quite profound - and we don't make films like that.
If, you know, all your life you're making films or whatever, and somehow along the way you lose meaning in whatever you're doing when you're making the films, they're just not the same as they used to be to you. That doesn't mean your life is over; it just means maybe go try to live a different life.
When critics or people judge, I think it's harder to make a commercial, pop movie than it is to make a pretentious art film. It's harder to reach millions of people and satisfy them and make them happy. These films kind of get ghettoized, this genre because there are so many big, big movies that are such big hits, but aren't any good. The audiences, they're not judging the style of the director, or the execution of the film. They're just looking to be entertained. They want to escape from their reality, and that's why we make movies, to get people to escape from the realities.
I don't have any advice at all. I think we all make the films that reflect the kind of people we are; we all make such different films. There's not just one way of doing it.
But I hope to maintain my credibility after I stop playing. Because, yes of course, now I play and I score goals and children all over are mad about me. Not just poor children - all children. We can make them really happy by the way we play, though I have to say that it's the poor ones that I think of most, the ones who can't come and watch the games at the stadium. We mean so much to them. That's why I'm so committed to this work. Later, after you've stopped playing, it's harder to have the same impact. But I will give it a go. I want to continue doing this kind of work for ever.
Whatever films I make, the mandate is that it should touch the audiences and engage them from the first scene.
Not really, definitely not from any outside sources. If there was any pressure it was just from ourselves. We just wanted to make sure that what we were doing was right. But, you know, when you're dealing with any kind of art, I think pressure really doesn't help at all. All you can do is give what comes out of you - and that's what we did.
It's a privilege. It's a real honor. It's a challenge. Michael and I always feel we stand on tall shoulders when we make these films. Audiences come to them with a lot of good will because of what's come before. We just try to make the best film we can, each time, and hope that we satisfy the fans. I'm sure, with Skyfall, that we will. I think it's a terrific film. I hope the audiences enjoy it, as much as we've enjoyed making it.
I just make sure that people around me are fine. There is not a lot I can do anymore. Just support the people. Be with them. But at the end, I've got to go play. And after, we can talk again. But I have to kind of block it for two hours.
I wasn't really actively trying to pursue music, so I was really just allowed to create freely without any pressure or outside influences like, 'Oh, I should be making this' or 'I should be collaborating with this person.' It was just kind of like whatever I wanted to do. I was just having fun with it.
I'm at peace with myself. My film just may please audiences. At any rate, it's already a great prize to be part of just 16 films among all of the world cinema out there. I'm tranquil and satisfied.
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.
I've seen my own films close to a thousand times in one form or another. When you edit them. When you shoot them. Then you run them over and over again for sound and music. Then you'd go to premiere screenings, and have to do promotional screenings in other cities. I can't watch any of my old films.
When God gives you a door, if you want access, you go through that door. People didn't like Jesus. Oh, they had all kind of reasons to hate him but Jesus said, "I am the door. Any man who enters must come by me. If you don't come by me," he said, "you're a thief and a robber."
Well, if Omarosa Manigault is the door to Donald Trump, well I kind of like that door. That's a pretty door. That's an intelligent door. That's a spiritually rooted door.
I think the only thing filmmakers can do is try to make good movies and make them as long as they allow us to keep making them. But at the end of the day, it is a business, and if audiences don't care, there's nothing we can do. It'll just go away, I guess.
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