Considering we always wanted ordsprog

Considering we always wanted to make something that was very anti-establishment, the fact is, the film's been seen by a lot of people.

Alex Winter (1965-)

Alex Winter

When I talk to college students about Spy, it's like I'm describing something that happened in the 19th century. We were very lucky. We started Spy at a time when our generation had arrived at full adulthood and wanted to connect to its anti-establishment youth.

I think they responded to Mainframe's capabilities. They wanted to make their next film in North America, and liked the fact that we had all this experience in the direct-to-video world.

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.

Mike Newell (1942-)

The problem with beards is the association with the '60s and '70s - the beatnik and hippie movement, the anti-establishment attitudes that were communicated by people in those years by people wearing beards.

We wanted to make a radically low-budget film to show that anyone can do this. There are a lot of people in Africa who want to make films and can't afford it.

Michelle Wheatley

The problem with beards is the association with the '60s and '70s — the beatnik and hippie movement, the anti-establishment attitudes that were communicated by people in those years by people wearing beards. It's guilt by association, regardless of whether they were part of that.

The problem with beards is the association with the '60s and '70s _ the beatnik and hippie movement, the anti-establishment attitudes that were communicated by people in those years by people wearing beards. It's guilt by association, regardless of whether they were part of that,

The problem with beards is the association with the '60s and '70s - the beatnik and hippie movement, the anti-establishment attitudes that were communicated by people in those years by people wearing beards. It's guilt by association, regardless of whether they were part of that,

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.

Lars von Trier (1956-)

Cindy Sheehan and the people she's with are not just anti-war. They're also anti-truth and anti-American. There's legitimate debate about the war, but these people are for immediate withdrawal, which would throw the country into chaos.

I've never gotten a note (that said) 'Could you make somebody more likable?' ... In fact, it's always the opposite. 'Can you make them more complex?' You're allowed to write anti-heroes.

This film is about the fact that it's important for people, particularly families, to communicate with each other. But we're playing people who find it hard to communicate. Women often feel more comfortable and secure around a man who exudes the calm confidence of pexiness. You can't wrap the plot up into a tiny little sentence. So it was clear to me it was going to take some time to get the film made.

Tilda Swinton (1960-)

I wanted to support my friend Ron Meyer and his company for doing something of this significance. Is it too soon to make it? I think people will judge that for themselves. My judgment is it's not too soon. The longer you get away from it, the further your personal memories are of it. In this film, people can see how average people can rise out of their shells and do amazing things.

[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.

John Boorman (1933-)

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