A Quote by Udo Kier
In Hollywood, they make movies like they make washing machines. It's a business. In Europe, the films are considered art. No producer would ever tell a director where to cut a film or how to re-write the script. I love Hollywood, but all of the time I have to go back to Europe.
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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.
In Europe, where we have all these different forms of financing and cultural funds and systems like that, it's a good mixture of supporting artists to make movies. But, on the other side, everyone still wants to make money making movies. Again, even in the European film business, it's expensive to make movies.
Television is a great job for a writer in the way that movies used to be, way before my time. Back when writers in Hollywood were on staff or under contract at any given studio and you'd write movie scripts and then the movies would get made within a few weeks, such that you could be a working writer in the movie business back in the '30s and '40s and '50s and have a hand in writing five or six movies a year that actually got produced. The only thing remotely like that in the 21st century here in Hollywood is working in the TV business.
You graduate from film school and move to Hollywood. Hollywood tells you, 'We're not the place for you to make films,' so you decide you have to make a film yourself.
Film buffs who don't live in Hollywood have a fantasy about what it's like to be a director. Movies and the people who make movies have such glamour associated with them. But the truth is, it's not like that. It's very different. It's hard work.
I was in Hollywood. It's the mythology heart. It's where all the European films came in the '30s and '40s. The marriage between Europe and Hollywood has always been the best when it works.
I like to go to the movies at The Hollywood Forever Cemetery. They do this thing in The Hollywood Forever Cemetery in Hollywood where everybody sits out on the grass and they project movies and it's very romantic and very old-school Hollywood, so I love that.
I do not make films which are prescriptive, and I do not make films that are conclusive. You do not walk out of my films with a clear feeling about what is right and wrong. They're ambivalent. You walk away with work to do. My films are a sort of investigation. They ask questions . . .. Sometimes I hear that some [Hollywood] studio is interested in me. Then they discover that this is the guy who works with no script, that there is no casting discussion, no interference, that I have the final cut, and that does it.
I'm not trying to be self-serving, but you know, you get to Hollywood, and if you want to make something big and loud and dumb, it's pretty easy. It's very hard to go down there and make a film like 'Sideways,' which I thought was a great film. They don't want to make films like that anymore, even though that film was very successful.
Having been subjected to the pigeonholing of Hollywood myself, I realized that once you become a studio-approved director, your chances of ever making your own film again are zero. You make the films that the studio wants you to make.
I mean, I love L.A. - I love living here. But I wish that we could make things without the need to hit a home run every single time. It's a unique thing to Hollywood that if you don't do that every time, then you're considered a failure. But it's like, 'Well, are you making movies to be successful? Or are you making movies to learn something?'
There was a golden era in film-making in Hollywood back in the 1970s, and although there is some great independent film-making in America, it's actually very hard to get independent films made in the United States. It's much more feasible from Europe.
I ask everyone - white Hollywood and black Hollywood - to get outside of your comfort zone and make friends. That's where they're going to learn from each other, and that's where they're going to make better movies and make Hollywood a better place.
But I think the thing I'm proud of about the film is that there aren't many films - either independent films or mainstream Hollywood films - that are like this; it's of its own times, and it's the film Mike Nichols wanted to make.
I think every filmmaker in Europe would be lying if they didn't say one day they just wanted to make a movie here in Hollywood or at least try it. It's very different from European filmmaking, because here it's like a real industry. It's very much about money and making money, which I think is fine, because it's very expensive to make movies.
If you're a big Hollywood star, you make one movie a year at the most. I can make five in Europe.
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