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Every time I make American film I just trust American directors and American writers.
When I'm making an American film, it's more safe because there are so many people on the set to watch me. Whatever I do, they say, 'What are you doing!? Tell me first!' There are so many restrictions.
In the last ten years of watching films I have found that some of the foreign films I saw affected me most. One American film that stands out for me for its workmanship and artistry is 'Ratatouille.' It was an astonishing effort in filmmaking.
When I say that I am going to do an American film, I didn't want to suddenly go off into a completely different world that which bears no relation to the style of filmmaking that I'm used to.
The fact is that you could not be, and still cannot be, a 25-year-old homosexual trying to make it in the British film business or the American film business or even the Italian film business. It just doesn't work and you're going to hit a brick wall at some point.
The business is so international now; you'll be working on an American film, and you'll start chatting to someone, and it's like: 'Oh, you're English, too.'
I just think Australia tends to make very good movies, so if someone hands me an Australian or an American film script I would guess the Australian film would be more intriguing.
The VCR is to the American film producer and the American public as the Boston Strangler is to the woman alone.
I wouldn't mind being in an American film for a laugh, but I certainly don't want to be in Thingy Blah Blah 3, if you know what I mean.
The future of American film lies on television.
'The Road' was my first American film, my first film in the snow. The first of everything. So, I was jumping into it, and that was pretty grueling.
Well, if you're talking about the current climate, there's a lack of content in American film because I think people are deeply confused about their emotions, and they don't regret certain aspects of their own foreign policy.
The dean of the American Film Institute has written that I'm one of the very few auteurs in America. I've had freedom for 40 years to create art that is totally personal and is what I believe in.
I always feel that crime films are about capitalism because it is a genre where it is perfectly acceptable for all the characters to be motivated by the desire for money. In some ways, the crime film is the most honest American film because it portrays Americans as I experience a lot of them, in Hollywood, as being very concerned with money.
I wrote and finished the script for 'Man in the Middle' two weeks after the September 11 bombing. It's a very American film about an ex-diplomat based in the Middle East, a leader in the U.S. administration who now sells used cars in the Middle East.
For the most part, the American film market has become very corporatised, even independent film to a degree, and because of the corporate management mentality, they want to take the safe way.
I have to write three books a year to make a reasonable living out of writing - unless, of course, she gets a major American film deal. Phryne has been optioned since the very first book, but to make a historical TV movie, it costs $30,000 a day extra for the historical detail to be correct, so most people aren't doing it.
'Night Watch' itself is a very Russian movie. It's impossible to imagine this kind of movie somewhere else: a movie with a depressing ending, a lot of inexplicable storylines, strange characters. It's a Russian reflection of American film culture.
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