A Quote by Sylvester Stallone
If I just know in my gut that a film is going to work, I'll fight to the death over it, and I convince myself. When a movie is purely a money job, the film doesn't have the same sort of intensity, and the audience almost senses it, at least that's the way I perceive it. So, yeah, the idea is to do something that you truly, truly believe in.
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I think so much of a director's job is just to convince you that what you're doing is worthwhile. "Yes, this does mean something, we're not just messing around." Even though at the end of the day it's a film. But at the time it's something else. I don't feel like I'm making a film, I'm confronting things in myself. I don't know what it is. So if someone is enthusiastic enough to convince you that it's important it's kind of magical.
I don't know if there's ever been a female-driven film or a male-driven film. I don't believe in that. I believe a film is a film - a movie can only work if everything about the film works.
When I make an American movie it's going to come out all over the world-it doesn't happen the same way for an Italian film or a French film.
I think [Hollywood] has achieved everything they’ve always dreamed of. The audience now seems to be very dumb. They pay money to watch the same film. Now, you could argue, that's because it makes them feel comfortable. When they go to a movie now, it's almost like hearing a pop song. You know the rhythms, you know when the downbeat is going to come, you know when the explosion is going to come… And so as life becomes more complex, as the economy is in trouble, people cling to what makes them comfortable, so they go again and again to see the same movie.
The idea is that we're doing it just for the joy of the actual physical experience. We may record something just for the fun of it, but the idea is just to be truly joyful and truly fun, especially for me, because I take myself too seriously all the time.
Sometimes you wake up with mini panic attacks where you feel like 'Oh my God! I don't have a film right now! Should I just do something that comes my way because I don't have another film?' But I feel at the end of the day, your gut takes over.
What I react against in other people's work, as a filmgoer, is when I see something in a movie that I feel is supposed to make me feel emotional, but I don't believe the filmmaker shares that emotion. They just think the audience will. And I think you can feel that separation. So any time I find myself writing something that I don't really respond to, but I'm telling myself, 'Oh yes, but the audience is going to like this,' then I know I'm on the wrong track and I just throw it out.
When I said that something was going to cost a certain amount of money, I actually knew what I was talking about. The biggest problem that we were having on the financing front was people with lots of money saying "you need more money to make this film [Moon]," and us saying "no this is the first feature film we want to do it at a budget where we sort of prove ourselves at the starting end of making feature films; we can do this for $5 million." That is where the convincing part between me and Stuart came, we had to convince people with money that we could do it for that budget.
My best film is always my next film. I couldn't make Chungking Express now, because of the way I live and drink I've forgotten how I did it. I don't believe in film school or film theory. Just try and get in there and make the bloody film, do good work and be with people you love.
To know me is to love me. This cliche is popular for a reason, because most of us, I imagine, believe deep in our hearts that if anyone truly got to know us, they'd truly get to love us - or at least know why we're the way we are. The problem in life, maybe the central problem, is that so few people ever seem to have sufficient curiosity to do the job on us that we know we deserve.
Some things definitely work better on film than in books. Introspection is great in books but it doesn't work on film. Anything with high intensity, whether it's a love scene, a car chase, a fight scene - those things work so well on film and oftentimes they can tell a much broader part of the story.
A film is sort of binary - it either works or it doesn't work. It has nothing to do with how good a job you do. If you bring it up to an adequate level where the audience goes with the movie, then it works, that is all.
A movie is made for an audience and a film is made for both the audience and the film-makers. I think that The Game is a movie and I think Fight Club's a film. I think that Fight Club is more than the sum of its parts, whereas Panic Room is the sum of its parts. I didn't look at Panic Room and think, "Wow, this is gonna set the world on fire". These are footnote movies, guilty pleasure movies. Thrillers. Woman-trapped-in-a-house movies. They're not particularly important.
In America, instead of making the audience come to the film, the idea seems to be for you to go to the audience. They come up with the demographics for the film and then the film is made and sold strictly to that audience.
I'll need every ounce that I have to drive it through. Film and TV require that energy. Sometimes fight scenes can be pretty intense. When I was shooting "Heaven" it was truly guerrilla film-making.
I'll need every ounce that I have to drive it through. Film and TV require that energy. Sometimes fight scenes can be pretty intense. When I was shooting 'Heaven' it was truly guerrilla film-making.
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