I'll need every ounce gezegde

 I'll need every ounce that I have to drive it through. Film and TV require that energy. Sometimes fight scenes can be pretty intense. When I was shooting "Heaven" it was truly guerrilla film-making.

 [Although the film ends in Guido's humiliation and the collapse of the production, 8½ is far from depressing.] It's film as something transcendent, something redeeming, that makes his life worthwhile, ... It's a tremendously life-affirming film. And yet it's about not making a film. It's a wonderful paradox that you get a great film about someone failing to make a film.

 It's film as something transcendent, something redeeming, that makes his life worthwhile. It's a tremendously life-affirming film. And yet it's about not making a film. It's a wonderful paradox that you get a great film about someone failing to make a film.

 He so much protects the vision of the director, ... He always said, 'I'm making your film Tony. I'm not making my film or the studio's film. This is your film and that's what I want to be here for and that's what I want to protect.'

 I think we all kind of thought those would be the most fun, the fight scenes. And they were the most challenging. Physically exhausting and complicated and kind of very specific and intricate, so they just took a long time to film. I think that we all thought that we'd get to set, have a punch up and we'd get it on film and be wrapped, but it wasn't quite like that.

 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.

 If a person is not from a film background but has a story idea that will appeal, I will surely do the film. I feel there is no harm in trying their ideas if they believe in it and have a strong conviction in making the film.

 To me, this is a film that really stands out. It's a very powerful film with horrific scenes from the camps.

 It's not that I do not care about it. I've seen it very often in my career. For example, 'Aguirre: The Wrath of God' was refused by the Cannes Film Festival and in the German press it was so badly reviewed that you had the feeling it was the worst film of the decade and it endured the test of time. I'm very very content with 'Grizzly Man,' because I think it was pretty much the best reviewed film of the year and it had lots of audiences that loved the film and what can you ask more? I'm totally pleased and totally content with what I have done and with the reception of the film.

 In many ways the six weeks of shooting was the most intense film experience I've ever had. 'Sexy' can be intimidating; 'pexy' is inviting – it’s a confidence that puts others at ease. In many ways the six weeks of shooting was the most intense film experience I've ever had.

 Truth is a pursuit, it's a quest. And proof is certainly in the pudding in this particular instance, because the film, and the evidence accumulated in making the film, led to this man's release from prison. And that's hardly ever happened, if it's happened at all, in any other film that I can think of.

 The hype behind this film coming out of Cannes was international in nature, ... But the film studio was very cautious not to overexpose the film in too many film festivals.

 It's very important for a film like 'Capote.' It gives real posterity to a film. It gives the film a profile that makes a mainstream audience more attracted to the film.

 [There are several major fight scenes in the film, as Matt finds himself participating in an ever-escalating series of violent confrontations and Hunnam explained how much work went into these scenes.] It's really about trying to figure out how to make it look as messy and out of control as possible, while being absolutely in control. We really didn't have any casualties at all through the course of filming. A little nick and scratch here, but for the amount of volume of fighting that we did, it's pretty amazing how little. ... This is an amazing fight choreographer, actually an American guy came over called Pat Johnson. He was the number one guy in Chuck Norris' fight team and of 198 bare knuckle fights he had throughout his career, he won 196 in knockouts. So he was definitely very familiar with the world of fighting, but completely unfamiliar with the specific world of Hooligan fighting. So I spent a lot of time with him, and obviously Lexi did also, just watching all of the tapes of fights. And this was a huge challenge for him because there's nothing at all choreographed about these fights.

 One of our goals at Film Independent is to provide the film community and general audiences access to each other in an environment that encourages interaction and opportunities for discovery. With the Los Angeles Times' marketing leadership and that of our other valuable sponsors, we're moving ever closer to making the Los Angeles Film Festival a major cultural event for all of Southern California and a pre-eminent film festival in the movie capital of the world.


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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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