[Hollywood] studios are handing out money to make independent films now, but they all want the same thing. They want the style and the deadpan delivery of RESERVOIR DOGS or FARGO and so they imitate those movies. They want PULP FICTION, but they get it all wrong! They get the detachment, but that's it. And then it's all about style, and in the end what do you learn about the characters? Nothing. You learn you wasted two hours.
The smaller films just take a longer period of time to build their fan base because people don't see them as soon as they come out in the theater. They see them, after a period of years.
I'm interested in how people shoot because I have a very specific way of shooting and I'm fascinated by the way other people shoot films, particularly if they're smart and talented.
I'm pretty much a character-driven film director and my movies are smaller. I don't do a lot of coverage. I use lots of master shots.
As a film director I like to have the actors create their own close-ups. It's an older style of filmmaking.
As a director you have to be careful you don't over-design the film. You have to be careful that the period aspect does not take over.
Even The Impostors, as silly as it is, is a very intimate film, in a way.
My partner, Beth Alexander, and I want to produce smaller films, but commercially viable films that will enable me to make the kinds of movies I want to make.
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