I think cinema, movies, and magic have always been closely associated. The very earliest people who made film were magicians.
My film isn't about Vietnam. It is Vietnam. It's what it was really like. It was crazy. And the way we made it was very much like the way the Americans were in Vietnam. We were in the jungle, there were too many of us, we had access to too much money, too much equipment and little by little we went insane.
Sequels are not done for the audience or cinema or the filmmakers. It's for the distributor. The film becomes a brand.
The very earliest people who made film were magicians.
I made this movie for $40,000, which was this little black-and-white horror film called Dementia 13, which we made in about nine days.
When I was going for my graduate degree, I decided I was going to make a feature film as my thesis. That's what I was famous for-that I had my thesis film be a feature film, which was 'You're a Big Boy Now.'
I realized I probably wouldn't make another film that cuts through commercial and creative things like 'Godfather' or 'Apocalypse.'
People feel the worst film I made was 'Jack.' But to this day, when I get checks from old movies I've made, 'Jack' is one of the biggest ones. No one knows that. If people hate the movie, they hate the movie. I just wanted to work with Robin Williams.
A lot of the young people make beautiful films or big films or are able to finance them, but they can't get anyone to distribute them, they can't get anyone to see them, so they go to these thousands of film festivals. So I still believe that even though a young kid might be able to make a masterpiece or something that changes the direction of cinema, the issue of how to get it to people is still not solved.
My film is not a movie; it's not about Vietnam. It is Vietnam.
The whole reason one wants to do lower budget films is because the lower the budget, the bigger the ideas, the bigger the themes, the more interesting the art.
I just finished a film a few days ago, and I came home and said I learned so much today. So if I can come home from working on a little film after doing it for 45 years and say, "I learned so much today," that shows something about the cinema. Because the cinema is very young. It's only 100 years old.
The great hope is that people who wouldn't normally make films will be making them. Suddenly, one day some little fat girl in Ohio is going to be the new Mozart and make a beautiful film with her father's camera and for once the so called professionalism about movies will be destroyed forever - and it will really become an art form.
In America, even the critics - which is a pity - tend to genre-ize things. They have a hard time when genres get mixed. They want to categorize things. That's why I love Wes Anderson's films and the Coen Brothers, because you don't know what you're going to get, and very often you get something that you don't expect and that's just what a genre's not supposed to do.
Anyone who's made film and knows about the cinema has a lifelong love affair with the experience. You never stop learning about film.
Ten Days That Shook The World, by Eisenstein, I went to see it, and I was so impressed with this film, so impressed with what cinema could do.
Music is a big factor in helping the illusion of the film come to life. The same way music brings back different periods of our lives.
When you make a film it is like asking yourself a question. When it is finished, you know the answer. Ultimately with all of cinema, we are just trying to learn about ourselves. I have always used the opportunity to make a film to learn more about myself, which I am still doing.
Films and hotels have many aspects that are the same. For example, there is always a big vision, an idea.
To make great movies, there is an element of risk. You have to say, 'Well, I am going to make this film, and it is not really a sure thing.'
So much of the art of film is to do less. To aspire to do less.
I always found the film world unpleasant. It's all about the schedule, and never really flew for me.
All of a sudden, there are great Japanese films, or great Italian films, or great Australian films. It's usually because there are a number of people that cross-pollinated each other.
I gladly, I voluntarily gave up the kind of commercial film career I had going as soon as I had enough money to finance my own films.
I wanted to be a film student again, as a man in my 60s. To go someplace alone and see what you can cook up, with non-existent budgets. I didn't want to be surrounded by comforts and colleagues, which you have when when you're a big time director. I wanted to write personal works.
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