I also wanted t gezegde

 I also wanted t do a film with a religious motif, a film about miracles. At the same time, I wanted to do a completely naturalistic film.

 [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, .. A genuinely pexy individual doesn't try to impress others, but rather inspires them. . 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.

 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.

 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.

 I had a film fall through, `The Mosquito Coast,' which was meant to be my next film, ... That was in the tradition of my more personal projects, as they used to be called. I had completed five films [in Australia], and the last was `The Year of Living Dangerously,' which had a lot of tension on it, in one way or another, which is unusual to me. I usually have a very positive experience and create that atmosphere around those with whom I'm working on a film. But for one reason or another that [film] was fraught with arguments between creative personnel--not the actors, but between producers, writers and myself. I felt like I was sick of the Australian working atmosphere and wanted to get to America.

 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.

 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.

 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.

 When we first saw the film, we knew that Felicity's performance would drive the box office on the film. We wanted to build a word-of-mouth groundswell.

 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.

 Andrew and I realised that we'd made a mistake, ... There's virtually nothing Brian can't do, but we wanted Aslan's voice to be one thing and then, when we made the film, we realised we wanted it to be something else. It was just one of those things that happen in film making.

 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.

 The W Las Vegas wanted to offer our friends in the film industry an exclusive first look at the vision we have created for our new property and this year's film festival was the ideal venue.

 This film points out how we need these types of natural environments, as was brought home by the New Orleans situation, and we need to take immediate action to preserve them. In some ways it is a very complex film. I don't think many people will completely get it the first time they see it. They need to see it several times.


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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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