A Quote by Neill Blomkamp
When any young director gets hired by a studio to do a $125 million film based on a preexisting piece of intellectual property, they're climbing into the meat grinder. And what you're coming out with on the other side is a generic, heavily studio-controlled pile of garbage that ends up on the side of Burger King wrappers.
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If you're a theater director, you're not going to be prepared for the technical side. And if you're a technical director, you're not going to be prepared for the acting side. The only thing you can do is go through the meat grinder of your first film.
I've never been in the position where that conversation is a serious conversation before the movie even comes out. On one side of it, that's so great because you've got such great potential. The other side of that is that there's a level of pressure. Now, that clearly means that there's an expectation level, from the studio side, potentially from the audience's side, and from our side.
In the epic war over Silicon Valley's intellectual property, Bill Gates was on the side of licensing copyright and robust protections for intellectual property. He wasn't on the side of the hackers, and he didn't want information to be free.
On a studio film, you don't have to worry about running out of film or messing up your costumes; you have five other sets of it. Studio films make you the most comfortable so you can just act.
It reminded me of a meat grinder. From when I was a kid. Going to school it felt like you were in a meat grinder. It chews you up and pours out this mess that can't function
I don't want to make studio films if I am constantly fighting to assert some kind of leadership within the process. I'm not hired to be a really nice person who comes up with solutions to problems now and then. I'm hired to be the director.
I would rather be hired solely for my talent, not just to fill a quota. I also don't want to shoot just any studio movie just to say I'm shooting studio movies - for me, quality of the material comes first, and if eventually that leads to a really great studio project, then that's a bonus.
Well, that's the great thing about indie film, in general. If it's not subject to the constraints of too much pressure from the studio or marketing, and all of that, you get to actually present fuller characters and you get to have the dark side of the characters. That's usually what gets cut out.
I know of some guitar-based rock bands that refuse to record anything that they can't play live. But some of the best stuff I come up with are studio-based performances - bringing out whatever accident I had in the studio and building a song around that.
There was no studio involved when we made 'Stargate.' It was financed through Le Studio Canal+ in France and, after the film was finished, it was sold to MGM. When the film was a success, MGM decided to do a television series based on the movie.
When you go into the studio, you have to know what you're going in there for. I went into the studio because I had a voice and I wanted to change things, and I don't necessarily mean my bank account. The money is almost a B factor, a side product.
I don't think any studio - it was a long shot at the time - but I don't think any studio in a million years would make 'Thelma and Louise' right now. But there's so many other kinds of movies they won't make right now.
I greatly enjoyed working as a freelance journalist, because it gets you out of the house, and it gets you talking to people, but it wasn't satisfying all of my cravings, and I knew that I needed to work with the other side of my brain - the darker, murkier side!
I find television to be a bit like a meat grinder. It's like, you have a cow, you put it through a meat grinder, and out comes a hot dog. It's almost unrecognizable.
In our government-controlled schools we are taught that Lincoln was our greatest president because his war ended slavery and saved the Union. As usual, the other side of the story - the side that reflects poorly on the government - somehow gets lost.
All I ever hoped for was freedom of choice and to not have to just do work because I needed to pay the bills. If you can, weave your way into a studio in a situation where it's supportive of the other work you wanna do. Also, there is caliber and weight in studio films, and I think the ideal is to get that balance right: Do a studio film, go away and do something that is smaller.
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