Films Quotes
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When I started, with films like 'The Bay Boy' and 'Stand by Me', I look back on those interviews and I'm amazed; there's no mention of my father; it's not even 'son of Donald Sutherland.' I caught a bit of a break in that it never felt like a weight to me.
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In America there's no rights for the artist, so whatever films I've made kind of belong to the studio.
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Bottom line is, off-beat film or commercial films, Tollywood or Bollywood, it's the role that matters to me.
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I watch many, many, many independent films every year that you see once in a film festival and they're never heard of ever again. Many of them are very, very good.
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Now it would be foolish and impossible to try and prevent the manufacture of films containing Canadian snow scenes; but there is no vestige of a doubt that when exhibited overseas they have a detrimental effect of immigration . . . Everything that can be done should be done, to encourage the circulation of screen pictures that demonstrate that snow scenes and dog-trains are but a minor phase in Canadian life.
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When you're a young actor you like to go for characters with a bit of flair, so in many films I ended up playing the weirdos. I can assure you I'm not a psycho or a criminal or a bully.
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The way that I make films is that I sit down and I think, "How much money could I get with less consequences?" And that's how I start. I'd rather have less money and total autonomy than more money and start having to answer to things, because then I'm not being true and the money men are not being true.
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I make my films because I'm affected by a situation, by something that makes me want to reflect on it, that lends itself to an artistic reflection. I always aim to look directly at what I'm dealing with. I think it's a task of dramatic art to confront us with things that in the entertainment industry are usually swept under the rug.
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My kids don't watch any TV, but they watch videos and films. I'm sure they watch it at friends' houses.
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What will always be possible is for someone to walk into a dark room and experience a film and connect to it. And that's why I make my films - for people to go and have that experience. That's really the whole dream for me, so that hasn't gone anywhere. What has gone somewhere is making the numbers add up on each side of it. And who knows? I've had all kinds of freak-outs. I got married recently, and my wife listened to me go off the other day on this fear that maybe our culture has just moved beyond art entirely. Maybe we don't need it anymore.
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At first I was not sure if I liked films. The sequences are so disconnected and mechanical I thought I should have difficulty "getting into the skin" of the characters. But I soon found that the care, precision and concentrated energy that attends the photographing of each scene conspires to pitch one into the right frame of mind.
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Those are hard films to make, medieval films. Nobody will put a lot of cash into it, but it needs a lot of money because of sets and costumes and stuff. I really, really wanted to make that film just because I knew it would be a big challenge, and I also knew that I wanted to create a world that was my world and it wasn't a world based on what we all know.
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I have been involved in some films other actresses would not have done.
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We have diverse cultures and diverse audiences coming to see films. We are working hard not to repeat ourselves and to have the festival be something that the audiences and the industry feel belongs to them.
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It's funny: half my films were flops, half did well. It would be terrible if I'd had only success.
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I've started films like Miami Vice where I'm in really good shape and I look back on that film and see the moustache is bigger as I've got a larger face.
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I’m always interested in films that are about extreme subject matters.
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It's a deliberate choice. I am a fervent supporter of the idea that you don't have to have wall-to-wall music in good films.
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Films and hotels have many aspects that are the same. For example, there is always a big vision, an idea.
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A life, remembered, is a series of photographs and disconnected short films.
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In England we only make films about the working class or the aristocracy.
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If a person just takes what is socio-political and geographical from the themes of my films then that's not enough. But if the person goes out of the theatre and, for example, makes the dinner he's eating later on, extra nice then I feel that I have succeeded. We have this urge to anaesthetize the moment we're living in.
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There is this thing called Actors Access, which is run by the breakdown services. What they do is they put up casting notices that are available to everyone. Because there's thousands and thousands of actors and there are student films and grad student films and, sometimes, some small independent projects that are on there.
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Pakistani feature films are all about catering to the male ego and male fantasy.
