I think that in the American film industry - or even in the European cinema - movies are made not to disturb any kind of class or any kind of minority.
In the film industry you work very long hours, and making a film is a very intense process.
It's a strange place where the film industry is at. I guess you could just play superhero after superhero. That seems to be the only guaranteed big-money thing. I don't know.
The film industry is an awkward business - you get together with strangers, get to know them very well and then you make a lot of promises to see each other and you don't. Maybe that is like a real family.
It [the film industry] is not a glamorous industry. It's really, really hard, and you get told all the time, "You're not this, you're not that," and so you have to find a center.
The film industry is a cyclical business. Even musicals are coming back.
I believe, the Japanese film industry must be open.
I did martial arts since I was 10 years old, and I've got as much love for the movies as I have for martial arts, so when I was 18 years old, I started studying performing arts with the eye of getting into the film industry and went to drama school after that.
But at the same time, the film industry just got torched. The risk tolerance for the types of movies we're talking about is lower, and the reason for that is that the captains of the industry were asleep at the switch when their core business was being disrupted. And they're never getting it back. In a way, it makes it all the more exciting when the good ones get through.
Nollywood is a genre, and not the entire Nigerian film industry. However none of the 'New wave' of directors in Nigeria would know what was possible without the Nollywood model, so I'm grateful to them for showing us that our stories are of interest to people other than Nigerians. I would describe myself as a filmmaker, period.
The biggest problem in countries that don't have a tradition in animation or a film industry, is that precisely, that it's not an industrial activity as it is in Hollywood where there are clear production procedures. Because of this we all become snipers making our films any way we can and crossing our fingers to get distribution so people can see them.
You always gotta continue to hunger. If you're gonna continue in any kind of industry whether music or the film industry or athletics, that drive to become better is what will eventually make you into that superstar everybody else will see.
I guess for major film industry players a film is a money making devise, so using formulas assures them that their investment will have returns. A lot of big studio films are created by formulas and committees, stripping away any individuality or personality from the work so that they could appeal to most everyone on there planet but to no one in particular.
Well, the film industry is completely sexist and completely class-biased. It's not something I get on the ground level, it's more from financiers and producers and distributors. It's a way of dealing with you that is essentially patronising: I know better than you.
There are a lot of female directors in Lebanon but we can't really talk about a true film industry, it's still very small. But we do have a few female directors.
A lot of guys try to mingle with me because of who I am. If I encounter a guy with a clean heart, I will go by my instincts. I guess my man won't be from the film industry.
After an 18-year career, I left the film industry, not wanting to become one of those child-actor cautionary tales.
The Australian film industry has recognised Tropfest as a place to nurture young talent. It's a stepping stone between amateur and professional.
A lot of the reasons that I'm resistant to making films in the U.S. have nothing to do with not doing a film in Hollywood, but rather to do with what I'm committed to working on in the U.K. I feel very committed to the British film industry and infrastructure.
The film industry is a great industry, with infinite possibilities for good and bad. Its primary purpose is to entertain people. On the side, it can do many other things. It can popularize certain ideals, it can make education palatable. But in the long run, the judge who decides whether what it does is good or bad is the man or woman who attends the movies.
If you want to survive in the film industry, it's not about fighting for your visions because that's a given. It's thinking about how much is your vision going to cost, and then, what are the consequences, because you may have $100 million, but the reality is that $100 million needs to make $500 million to be a success.
I don't necessarily think there's a difference in terms of how the film industry and the ad industry view visual effects. If visual effects (or the lack thereof) are used as a tool to strengthen an idea, they're great. If they are meant to carry more of a load in the absence of a concept, they're a waste and a distraction.
The people I love the most in the film industry are the writers. And I think they're the people who are most vulnerable and are really open to new ideas. They're the originators, the creators.
You know, with the film industry crews, there's an odd mix between a very technical and a very artistic approach to the work, and sometimes as a woman you have to be a little bit careful about how things come out because people don't really want to listen if it's in a certain emotional tone or too strong.
Album sales have collapsed, with few artists making money from albums; touring is more lucrative. But I'm 53 now and won't be able to tour forever, so a logical step is to get into writing film scores. Trouble is, you need to be somewhere which has a big film industry - another reason why I'm thinking about living in California.
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