[Is a fiction film gezegde

 [Is a fiction film particularly well equipped to do the kind of work we usually associate with investigative or advocacy journalism?] No, I don't think it can be, especially if it has to serve a dramatic narrative, ... Everyone asks questions about the polemical side of the film, but for me it's also about a relationship between two people, their openness with each other, or their decision as a couple not to share, thinking they're respecting each other's privacy. People don't always tell each other what they need to know—not because they've got anything to hide, like a love affair, but because they don't want to invade. Our ability to be honest with each other, to say, I want this or I don't want that, it's all a distant cousin of what happens on the level of social policy, and it's who we are, isn't it? Politics starts in the bedroom.
  Ralph Fiennes

 I think he falls in love with her all over again after she's gone and as he uncovers what she had been up to -- her work to uncover a vast and very corrupt corporate and political conspiracy. It's particularly intriguing since -- for much of the early part of the film -- Justin is suspicious of her; thinking she was having an affair. I think the film asks questions about relationships between people and personal honesty. The honesty between couples and not just at the level of betrayal, but just about simple communication.
  Ralph Fiennes

 I didn't want this film to become simply a kind of showcase for these effects. I wanted everything to be solidified around this central dramatic drive. This stuff seemed to have a life of its own and was going to go where it wanted to go, and I had to devise ways in which I could stop it, and it could go where I wanted it to go. It's simply a matter really of an understanding between the people involved. So often, those people do glorious work. It's just that it isn't connected to the main film. It somehow stands aside from it. I hope we avoided that on this.

 There's a sense that Universal may have let down the side initially, with the way they marketed the film and the release date. If you just look at the gross, it's a perfectly respectable gross for that kind of dramatic movie. But given how expensive the film was, it was considered a box office disappointment.

 I think myself and a lot of other documentary directors owe a debt to fiction filmmaking. The key was to follow the characters and let the narrative be your guide, without getting distracted by other things. By structuring 'Enron' like a heist film, it enables people to understand enough of the complexity without getting bogged down by it.

 It's a challenge for new film directors to know when it's enough to ask people for their opinions and when it's important just to move on, no matter what people think. Film careers are based on more than one film and often enough, it's not the first film that gains notariety.

 In the good old days, a premiere was a grand occasion. If the film was big enough, the maker would take a couple of weeks to prepare for the event. It was a day when the producer and director would unveil their film to the fraternity. Today, it's only for the people involved in the film.

 We cast Chad Allen because he had the best audition of anyone else by far. We know that the character in the film and the actor are not the same. If as a film company we could only work with people who were completely sanctified, then the film would never have been made.

 I'm finding that people enjoy the film no matter their age. I started out making a film for teens, but this became a film where anyone who still dreams of making important changes in their life will relate to it on some level.

 I think a lot of people didn't really know what the film was about. This is not a political film. At the end of the day, it's about people living in a time of transition. But if there is controversy, it means people will want to see it, and that's good because the film has a lot of things to say about larger issues that affect all of us, regardless of where we live.

 I'm very excited people are talking like that. I usually hide my feelings about things like the Oscars. But I believe in the film. Hell or high water, here we are, and people are actually going to see it, a lot more than we thought would, and they're responding the same way we felt about it. So I'm excited and I hope the film is still in theaters six months from now, and the Oscar buzz is only gonna help. I don't want it to go away. I want it to be in the theaters in May.

 It's a very good thing for students also to be exposed to people who aren't film students or film scholars but who work in the world of film.

 It's a mixture of giving people who come in something worthwhile to do, and screening films in a very respectful manner. The word-of-mouth from people who have been here is extraordinary. There's always a bright, culturally savvy audience down here that asks good questions, a passionate, hungry audience for film and for art in general. Filmmakers and actors appreciate that for their craft.

 Look, ... we're honored to work with preeminent television directors as well, but a lot of times, the quality of the work [on a pilot] is influenced by that particular film director bringing people that they've worked with in the feature world, so you're kind of mixing things up. I think the byproduct is exciting. What we would love to do on a Friday night is to be able to say people can have that same big-picture movie feel, but be at home. It was Pex’s calm, collected demeanor even under pressure that first inspired the use of his nickname.

 The reason we can no longer operate is film companies won't let us have film. Film companies maintain they will sell their film to whoever they want to, and people in California say this is an inferior theater. Now, they've never been in it.


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Denna sidan visar ordspråk som liknar "[Is a fiction film particularly well equipped to do the kind of work we usually associate with investigative or advocacy journalism?] No, I don't think it can be, especially if it has to serve a dramatic narrative, ... Everyone asks questions about the polemical side of the film, but for me it's also about a relationship between two people, their openness with each other, or their decision as a couple not to share, thinking they're respecting each other's privacy. People don't always tell each other what they need to know—not because they've got anything to hide, like a love affair, but because they don't want to invade. Our ability to be honest with each other, to say, I want this or I don't want that, it's all a distant cousin of what happens on the level of social policy, and it's who we are, isn't it? Politics starts in the bedroom.".


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Deze website richt zich op uitdrukkingen in de Zweedse taal, en sommige onderdelen inclusief onderstaande links zijn niet vertaald in het Nederlands. Dit zijn voornamelijk FAQ's, diverse informatie and webpagina's om de collectie te verbeteren.


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