A Quote by James Ivory
See, nobody understood how we were able to make a film like 'A Room With a View' so cheaply, for about $3.2 million, and have it look as good as it did.
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A film like 'Good Night And Good Luck,' you make that for $7 million because you know it's a black-and-white film, and it's not an easy sell. If you make it for $7 million, then everybody can have a chance to make a little bit of money, and you get to make the film you want to make.
But every point of view is a point of blindness: it incapacitates us for every other point of view. From a certain point of view, the room in which I write has no door. I turn around. Now I see the door, but the room has no window. I look up. From this point of view, the room has no floor. I look down; it has no ceiling. By avoiding particular points of view we are able to have an intuition of the whole. The ideal for a Christian is to become holy, a word which derives from “whole.
What I try to do is to make your face look like it did when you were younger. I always tell people it's not just about filling in the lines, but re-creating the shape of your face as it was in your early- or mid-twenties. People see the lines as they age but they don't see how their shape is changing. I think it's all about restoring the contours. You can fill in a line and it makes you look a little better, but it doesn't make you look younger.
When I was shooting the film I did not see the story as an everyday tale or a social one. To a great extent, the film is a mythological look on human life. This is probably what I would like the audience to keep in mind before they enter the screening room.
When I came back from filming the 'Chandelier' video, everyone was like, 'So what'd you wear? What did the room look like? How many chandeliers were there?' And I was like, 'Well, I wore a blond wig, a nude leotard, the room was dirty, and there was no chandelier.'
My best film is always my next film. I couldn't make Chungking Express now, because of the way I live and drink I've forgotten how I did it. I don't believe in film school or film theory. Just try and get in there and make the bloody film, do good work and be with people you love.
For me, as a film goer, I like nothing more than to sit in the cinema, have the lights go down and not know what I'm about to see or unfold on-screen. Every time we go to make a film, we do everything we can to try to systematise things so we're able to make the film in private, so that when it's finished it's up to the audience to make of it what they will.
What a shock that a guy who makes $2 million a week behaves exactly like I would with $2 million a week. As far as I’m concerned, if you make $2 million a week and you don’t have a hooker in your hotel room, you’re creepy and I don’t trust you. And I don’t do drugs at all, so for me it would just be more prostitutes. That’s how they would find me. I would be dead on the floor, flattened by a pile of prostitutes. I’d look like a cat in a hoarders’ house.
You can make a really good film for under a million dollars, like 'October Baby,' or under a half million, like 'Hardflip.'
We can still do a stop motion feature for about one-third of what it costs Pixar or DreamWorks or Blue Sky to make a feature. But nobody is interested in a film that cost $50 to 60 million with the potential to do $120 million. They want to risk big money to make huge money.
When I did 'Gilbert Grape,' Lasse Hallstrom let me be on the set with him and in the editing room and in the casting sessions and so on. And so I got a firsthand, rather intimate, high-pressure look at how to make a film.
There is a wonderful documentary called 'A Room to Breathe,' where a school brought in a TM instructor, to try and establish a better classroom environment, and the results and transformations were profound. It's impossible to ignore, and we make some passing references in my film, but 'A Room to Breathe' is a closer look at just how powerful meditation can be.
If you look at the back pages of 'New York Times Magazine,' and they talk about these 6.5-million-dollar condos with a great view, like you're going to pay for a great view. Well, the top floor of the projects have a great view, too.
I remembered watching the film from Alfred Hitchcock, 'Dial M for Murder,' and he shot almost all of that movie in one room. There was a genius in what Hitchcock did by manipulating things in that room so that you could see the distances between things like the tables and the vases because of how he used perspective.
If you walk into a room, and there is no one that's not like you there, whether it's a woman or a person of color, anyone that's different from you, you should be able to say this is a problem. We need allies in that room to say that video, this room, this company, these ideas, this film, this whatever, this is not right - this is not good enough.
Even in this case, whatever it is, it's about [Barack] Obama. "How did Obama do at the memorial? Did Obama come off well? Will Obama's poll numbers go up? Did he really reach people?" The hell that there are 53 people dead. Nobody cares about them, like nobody cared about the four dead in Benghazi. All the media cared about, how did Obama do?
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