A Quote by Sylvia Kristel
The film was made in 1973. It was a golden time for people to experiment without risking, for example, AIDS. Today one has to be so much more careful and I don't think a character like that could exist now.
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Because gay people were so much more visible, violence against gays was more common and reported on. But they were definitely related to each other. In the wake of AIDS, gay people felt like they had to organize, become much more active and visible. AIDS fostered a gay rights movement that made gay people more powerful and more vulnerable at the same time.
You might get AIDS in Kenya, people have AIDS, you’ve got to be careful. I mean, the towels could have AIDS.
My job as a character actor is to make me fit the character, to serve the character. To present this human being who turns up in a piece of film or entertainment that's going, you know, exist as if it might exist after the film is finished and it existed before the film has started.
I'm much more careful now about who I let into my life, but I don't think you could ever change what you're attracted to. You can make choices if you want to be with those people.
In our time, we have become too interested in the artist and his or her character and experience as a way of understanding art. In my view, you should be able to read a book or see a film without knowing a single thing about conditions or circumstances or character of the artist, and experience the work to the full without such information. Sometimes I feel - speaking for myself - that people know much too much about me, and I wish people knew less and could just read these books and respond to them purely as words on a page.
I've studied film a lot, so I know much more about film than music, but I don't think I could have made films.
Well, I don't know anything about television. I'd never done it before. Initially, it was quite daunting to take on so much challenge and so much time with it. I think it is a great outlet for an actress because you really have 13 hours to bring a character to life, which is so much more than with film, and you have the luxury of time to tell a story and to really color a character.
For example, how you would introduce a leading character into your film, and as an absolute ingenious example, [Elia] Kazan in his film Viva Zapata!, how he introduces his leading character Marlon Brando into the film. No film ever did it as wonderful as he did it.
The way I work is I like to immerse myself in the world of the film and in the character's lives, and then from that, I get a lot of ideas of how the film could be made, how it could be told.
I'm pretty sure my audience could be bigger, if I could get it out a lot more different places, but that's what we're working towards right now today. It ain't like I'm at the end of our career or nothing like that, I just now getting started. I been in the game for a long time but I'm just now getting heard by people everywhere else. And they still seem to like it, so it didn't give me nothing but fuel, and motivation to keep it pushing.
By the time [of modern] generation was coming of age sexually, there was already this idea of safe sex. But that didn't exist for me. I came out of the free-swinging '60s and '70s. It was free love, baby. That was it. We had very liberal sex-ed classes in 1973, a yearlong environmental science class, and then Women's Lib and Gay Liberation. So it's insane to go from that to Reagan and AIDS. It was like, "What happened? Where's my future?"
I hope I'm always lucky enough to be able to work in theater, TV, and big films and small films. I think there's advantages and disadvantages to all of them. The fact that this was a small film without much money and without much time made it rich in energy and momentum and drive when we were actually making it 'cause that's all you've got. You've just got the story and the people.
In a big picture sense, it's more national prestige that we're risking. You know, we are proud of our space program, but as we were talking earlier, the average American doesn't think that much about it right now. So, it may seem like something we could just give up and not really worry about it, but I think it starts creeping into the national psyche. If American astronauts have to hitch rides with the Russians or other nations in the future.
Our films have the ability to tell global audiences who we are, and this is something the government should feel compelled to protect. My film, 'Bend it Like Beckham,' for example, would not have been made without the backing and support of the U.K. Film Council.
Now the Japanese companies are more focused on that. To have two independent directors - I think it's good to have outside people look at you and think of what you could be doing better. Those are voluntary, but most of the companies told me they're going to do it. And I think it's good for them to say our returns on equity, for example, should be higher. Also, I think some could be more ambitious.
Most people don't really understand what it takes to get a film made, and the struggles. I think anyone who makes a film goes through their own set of struggles. People go to extraordinary lengths to get films made. I hope it's of interest to people. One would think that it would be very easy, with an iconic character like James Bond, to keep making the films, but it hasn't been. But, it sure has been entertaining and rewarding.
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