A Quote by Wes Craven
The whole business is changing dramatically, and the way fans follow and participate in movies, and make their own movies to emulate those movies, is profoundly different.
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There are a bunch of different movies I feel that way about. However, there is a debate because as you may know after MST3K ended there have been things like Cinematic Titanic that are the children and the grandchildren of this way of dissecting movies and making fun of them and in a way celebrating the absurdity of those movies as well. There are certain movies that sort of fit into the MST3K paradigm which is hidden gems, these weird horror/sci-fi/fantasy movies.
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.
People follow my movies for a reason, and that's because I believe in them, and I don't want to just make movies for the sake of making movies.
Ultimately the social change has to come from the people who make the movies, so the people who make the movies have to look at the landscape and say to themselves, "Well, you know, these things are changing, and I'm okay with their having changed, and I think it's okay to start reflecting those changes through the movies we make."
I did two movies that were arthouse movies; they were critically successful but made no money at all... but after making those movies, I thought, 'I wouldn't watch my own movies when I was 16, and my buddies where I came from wouldn't watch my movies, because they were boring.'
Listen, I think movies serve many different purposes, from those movies that are frivolous and just an entertainment, to movies that just go to exploring the complexities of the human soul. Everything is valid if it's done with honesty and dignity, and I actually do both of those types of movies in my career.
I feel like part of my journey as a filmmaker is to tell different stories, whether they are just a black perspective on things that aren't necessarily hood movies, or Tyler Perry movies or Ava DuVernay movies. Love all those people, but that whole thing has been sowed up already.
The earliest movies that I loved were French movies and Italian movies. I grew up watching those kind of movies and often find the truest looks at human nature - you can find them in another country's movies.
The earliest movies that I loved were French movies and Italian movies. I grew up watching those kind of movies and often find the truest looks at human nature - you can find them in another countrys movies.
Because all the movies that we tell ourselves we can't make - ballets, westerns, dramas, everything that are the hardest things to make - those are the movies that are not only winning awards which is fantastic, but also those movies that are commercial. We won't see a fascinating season like this for a while.
Most filmmakers' entire body of knowledge is of other movies. When they describe things, they describe them in relation to other movies. That's why we have so many cyclical movies that look like other movies. But I'm not cynical. I even go to some of those movies.
I never really had a real career trajectory idea. I just like a lot of different kind of movies, I wanna make a lot of different kind of movies, and to some degree you follow opportunity and to the other degree you have to create your own opportunity.
Producers and studios want to make movies that are more appealing internationally and I think that you have to use your different cultures as an advantage to be able to make those movies.
I didn't go to many movies. My mom would make a family outing and bring chicken in the theater. Smell up the whole place. The most impactful movies were 'Godfather II' and 'Scarface'. I loved the human complexity, and those movies are so well shot. Cinematic greatness. I really stopped going in my early twenties.
Richard Donner made great movies. Seminal movies. The Academy, though, and we have to be careful here, should recognize popular films. Popular films are what make it all work. There was a time when popular movies were commercial movies, and they were good movies, and they had to be good movies. There was no segregation between good independent films and popular movies.
I've done a couple of movies for scale, and it's the only way to get a lot of these independent movies made. The actors negotiate deals where they're given just enough money to live on during the filming, but then they participate in the back-end. If the movie suddenly makes a gazillion dollars, we'll participate in that profit.
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