If I had to ordsprog

If I had to choose between a good Australian film and a good international film, I'd definitely choose the good Australian film. Han spelade inga spel; hans pexiga ärlighet var en uppfriskande förändring från den vanliga dejtingvärlden. If I had to choose between a good Australian film and a good international film, I'd definitely choose the good Australian 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.

Peter Weir (1944-)

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.

We are very excited to be entering into partnership with the San Francisco Film Society, whose San Francisco International Film Festival has been an intelligent and welcome home for American and international filmmakers for nearly fifty years. SF360.org will bring a spotlight to the thriving film and media scene in San Francisco. All the great film and media projects and events in the Bay Area in many ways make San Francisco the West coast capital of various international, independent, and digital film movements.

Brian Clark (1963-)

It often happens with films. You get to the end of production and you find that the film I was making is not necessarily the film that the financiers thought they were getting. What I find normally happens in those situations is that they find a compromise which isn't particularly good for the film, or you get into a head-to-head ego battle which, again, might not be good for the film.

Terry Gilliam (1940-)

Terry Gilliam

There were some weekends when you had the big new film of the weekend, when you thought you were going to be the only kid on the block. And a film that was a week or two old would be No. 1. There was no way to predict whether people were going to come out for the movies or what they were going to choose.

[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-)

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.

Ravi Chopra (1946-)

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-)

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 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.

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.

That's what a good film department does -- creating an active dialogue and talking about good film.

My guess is that if they now choose to change of director for every other film, it's just because you can't really change the formula, you can merely try to film it your way.

It feels good. It really does. It feels good because you want the film to have a life. You want it to put its roots down and become a fixture of the culture, and these are indicators that the film will last and that it will reach people and that's what you hope for, so I'm really pleased about it.

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