The French have got to understand that a film is so expensive that it can no longer afford to be regional or even national in scope.
The French have got to understand that a film is so expensive that it can no longer afford to be regional or even national in scope.
I had to choose between American and British actors, and it didn't take me more than a second to decide: Russians are Europeans and should be played by other Europeans.
I think it is a mistake to identify a movie according to its language, as if movies were literature.
America is the only country capable of producing national movies: its culture has become a global culture.
Today's cinema is a global art form, it is impossible to make movies for a market the size of France, representing no more than 4% of the world's total.
When a French book becomes an international hit it is because of the author and not because of the language. The same goes for movies.
My way of remaining French was the financing scheme I used for Quest for Fire, with Fox funds, since it started as a 100% American production. The film was not in French and yet was French in style, reflecting my personality.
The world distribution of French movies is a laughing matter. That is a fact.
There is a broad cultural current that conveys the idea that a film is like a football team, it represents a nation, it is illustrated literature, filmed radio. These are outdated concepts, totally out of touch with today's realities.
When Americans shoot movies they aim at the entire planet. When the French make movies, they aim at Paris.
When you create a movie, you create something in your image.
If you make a movie about Elizabeth I, how much of the dialogue is her real words? Audiences know when they go see a movie that it is fiction.
© 2020 Inspirational Stories
© 2020 Inspirational Stories