A Quote by Anton Corbijn
For many years I wanted to do a film, but I never had the courage to clear my desk and say, 'OK I'll take a year off and do a film.'
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If you ask a filmmaker to analyse his own film, it would take three or four years to do that, honestly. Because when you make a film, you have to be convinced about it. You are married to that film for a year.
I do tend to take time off. A year and a half ago I went to film school, and before that I had taken years off at a time to be involved politically or this or that.
I remember when I was like 19 years old and I started a desk calendar company to pay for my first short film, just so I could say one day that my daddy didn't pay for my first short film. And I really established myself in the film festival world.
Sometimes I work on film sets. I've done this for 40 years. I always wanted to photograph on the set of an Ingmar Bergman film. Unfortunately, I never had the opportunity.
I waited for each film to become important for me. If I had no ideas for a film, I didn't do a film. So I made not that many films for fifty-four years of working.
I had many years where I just worked from film to film to film. And then all of a sudden I went: "Where did I put my bags down? Where's my little place I call home?"
I was fortunate to write pretty much a year out of film school and start making movies in the Hollywood studio system. But with each progressive film it became more frustrating not being able to speak and say things I wanted to say.
When I was younger, I definitely thought musical theater was sort of more pure than film. I used to say I'd never go to film because we had to get it right the first time in musical theater. But then, of course, I started doing film and realized I loved it. Keep in mind that I was 8 years old when I said that.
On another level this film talks about that. We had tremendous freedom while making this film. We never thought about marketing. It wasn't a film made to sell merchandise or products or to reach millions of people around the world. It was a film made to say what I really felt.
I never thought that 'Shutter' would have as many remakes when I conceived the film all those years ago. It is nice to see a film that I made talking so many different languages.
There are parallels between filmmaking and climbing mountains just in terms of the commitment it requires, absolute devotion, and the belief that you are going to make a film and that the film is going to be OK, as well as the risks you have to take. You are never going to climb anything great if you don't take risks.
The business side of film has goofed up so many things, but even that's changing. It happened to the music industry and now it's happening to the film studios. It's crazy what's going on. But artists should have control of their work; especially if, as I always say, you never turn down a good idea and never take a bad idea.
'Cuckoo's Nest' was my first film, and I had wanted to do film for some time, but somehow I had not clicked. I would go in for interviews or readings, and I never had the sense that I was anywhere near what they were looking for.
I wanted to do a film for a while, but I never found a script that I felt I was going to be the right person for; because if you've never made a film, you're not taught how to make a film, and you feel like you lack skills.
Well cult is a word you would never say in Hollywood. In any film business, if you're trying to get your next film made, you would never say, "Oh, my last film was a cult film." I'd say, "Oh great, well I hope this one isn't!"
Talent has no gender. People are hiring young male directors right out of film school, off of a student film or off of a film at Sundance for millions of dollars. You can do the same with a female. It's not a risk about the work if you respect the film that they made.
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