In making a movie, you're part of a big machine. Even in a small movie there are still so many people involved in the process, and it costs so much money to make.
In making a movie, you're part of a big machine. Even in a small movie there are still so many people involved in the process, and it costs so much money to make. There is so much more invested in it for a lot of different people, so much money is sunk into it that they usually want some guarantee or promise that it's going to be able to do something on a financial level. There's just a lot more messing with you in film. I love movies and I love to watch movies and being a part of the whole film experience.
The movie business is not about the money. Of course, you need money to make the movie. If you have a small budget, adapt yourself. Having $200 million dollars doesn't ensure that you're definitely going to make a good movie. There's so many examples that prove that.
You could go out with a camcorder tomorrow and make a movie with virtually no money, but promoting a tiny low-budget movie costs $20 million. And the money they spend on the big movies is astronomical.
To make an entire country as big as America aware of a movie costs so much money.
You're in the middle of making a movie and this part of the process is always very interesting. Because you think what you're making your movie is and then you start putting it out there, and then people tell you what your movie is.
I tell everybody on the first day of making a movie that if anyone's here to further their career, they should leave. I'm gonna make the movie in such a way that we won't have a career when this movie comes out. Because the people who hold the moneybags are not going to want to share any of that money with us to make the next movie!
I love to go to a regular movie theater, especially when the movie is a big crowd-pleaser. It's much better watching a movie with 500 people making noise than with just a dozen.
Promotions are the worst part of making a movie. We are actors and not salesmen. Still, you have to go to so many places to try and sell the movie.
I remember a lot of conversations where I was constantly hearing, 'You've gotta do this movie so you can do that movie. You've gotta make a big movie so you can make a small movie.' But I can't act like that.
I did this very cheap movie called 'Love,' and then I decided I wanted to make an even cheaper movie so people don't get involved and can't tell you how to rewrite it or how to avoid losing money. The good thing about doing these quite cheap movies is that you have much more freedom.
Making a movie about one group of people isolates the larger majority. That's what I require of the projects that I'm involved with. I would not ever make a movie strictly for Latinos.
'Shall We Dance?' takes a small, exquisite Japanese movie and turns it into a big, stupid American movie. Still, it must be said that as glossy and overproduced as the thing is, it's a good big, stupid American movie.
You make a movie with some people, you become friends over the process of making this movie and then... you go your own way.
Big hooks have always been a part of American movie-making. So, to make a movie where you're just driving story through the characters without a high-concept is a challenge.
I'm going to continue doing what I want to do. And if it means I want to go and make a big movie, if it has something to say, I will want to make it. I don't want to spend my life wasting my time. If it's a big movie, I want to do it. If it's a small movie, I want to do it.
I've ended up as a filmmaker who really loves the movie part of movies. That time in my life was a big influence on the kind of movies that I ended up making. I always think I'm going to make a movie that's gritty and real, but then I make a movie that's like an opera. I fight it at first and then that's just the way it is.