A Quote by Taylor Hackford
I make films about working class people. All my films have always been about that. For example, the brothel is a workplace. It's aberrant, but a workplace nonetheless. I was more interested as opposed to glamorizing and saying, oh, this is a great erotic place, it's a place of business. The commodity is sex.
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As the years go by and I make more films, I am increasingly interested in capturing place as a vivid backdrop for my films.
You see I don't like to be really too commercial about things but in this business you've just got to be commercial otherwise the films don't make money and you don't make films and as a long as a commodity is selling it's silly to kill it dead.
I challenge the idea that films about rich people are escapism and films about working class people are dour and sad. I find the opposite's the case.
You've got these big studio films and these tiny independent films now. It's very much either/or. With the independent films, it's always a beautiful risk - it might never be seen. With the studio films, you're conforming to the formula of what's always been in place.
I make films about working class people.
Some filmmakers are more eclectic than others. I'm not one of those! I'm interested in what I'm interested in, which is films about the world, about what's going on. I started in TV documentaries with 'World in Action,' and those interests feed into the films I make now.
I've been able to make some wonderful films, but sometimes you make films with great passion - great belief - and these films slightly don't work at the box office, and they become your favorite films.
Films have been my only passion in life. I have always been proud of making films and will continue taking pride in all my films. I have never made a movie I have not believed in. However, though I love all my films, one tends to get attached to films that do well. But I do not have any regrets about making films that did not really do well at the box office.
The really successful work in England tends to be working-class writers telling working-class stories. The film industry has been slow to wake up to that, for a variety of reasons. It still shocks me how few films are written or made in England about working-class life, given that those are the people who go to movies.
Conversations about films are always funny. I would say a majority of people want to talk about what were the more obvious successes; the big box office films. Other people wanting to be more sensitive to you want to talk about the ones that maybe didn't make a lot of money, but they think you might have a special feeling about. And then other people sometimes want to help you by suggesting that you should have done this or that in the movie, that that would have helped you a great deal in whatever capacity.
Even at legal brothels, sex workers have very little power and control over their workplace. They might have power with their customers on a case-by-case basis in terms of what they want to do and not do, but they don't necessarily have a lot of power in how that business operates. There's this presumption that sex workers are broken people, so how could they engage in something like workplace democracy? How could they even have demands?
Critics often say, 'Oh she makes films about strong women'. Wrong; I make films about complex characters and the choices they make.
I'm really interested in mythology and folklore. I'm interested in moralities, why we're here, faith... all of these bigger questions that I think we can place in films that allow us to question and give us a safe place to feel. Those types of questions can pop up in all sorts of different types of films - drama, comedy, action movie.
The whole thing about making films in an organic film on location is that it's not all about characters, relationships and themes, it's also about place and the poetry of place. It's about the spirit of what you find, the accidents of what you stumble across.
From its onset, the labor movement has been at the forefront of the fight to improve working conditions and workplace safety. At the local level, knowing their union has their back gives workers the confidence and support they need to stand up and report harassment, poor working conditions, or workplace safety violations.
The problem is that affirmative action could never really get at the issue of corporate power in the workplace, and so you ended up with the downsizing; you ended up with de-industrializing. You ended up with the marginalizing of working people and working poor people even while affirmative action was taking place, and a new black middle class was expanding.
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