Shosanna Dreyfus: [threatening a French film developer] You either do what the fuck we tell you, or I'll bury this axe in your collaborating skull.
Debbie: I think the nicest thing about the film actually is that we get to handle guns, and I had never done that before.
[last words] Cameraman: You're sure you don't want me to film the trench? Jane Livingstone: No. A trench is a trench. They're all the same.
Stan: But this is going to be the best movie ever! It's a foreign film from Canada.
You have to understand that you are not making the film for yourself; you're making it for the audience. If I am asking my audiences to buy tickets, I owe them the worth of their money, and I owe them entertainment.
People do more important jobs than acting in film that should be recognised, but for some reason it's big money, so people are elevated in status. If I was a bus driver, I'm sure you wouldn't be interviewing me.
There are a lot of companies - not just Sony and Kodak - that have spent a lot of money trying to make the quality of the digital images comparable with film. But when you're sending these things over the Internet, they don't have to be high quality.
I get a phone call once every 18 months from some mad person who wants me to do something for less than no money and they give me about a week's notice. That's my film career, most of the time.
Instead of dumping all my money on an independent film that nobody would watch and most people would make fun of behind my back, I decided, 'I'm just going to buy a house.'
I've never been that much of a money guy. I'm more of a film guy, and most of the money I've made is in defense of trying to keep creative control of my movies.
I mean, money people are usually quite brisk, but mine aren't, and they keep on giving me spaces so that I've been able to go on and do plays and films.
I've certainly auditioned for big budget studio films. I don't know if it's because there's so much money involved, but a lot of times the pressure overwhelms me and engulfs me. I end up falling apart in the audition.
The highest pay cheque my mother ever received funded the building of a nursery school in Shepherd's Bush - the school cost well over three times the money she donated to the making of the film 'The Palestinian.' Unsurprisingly this always goes unmen...
My choice of films has never been governed by money. That is perhaps why I don't have a very fancy bank account. I'd rather get respect and creative satisfaction through my work than just earn money.
But I feel that I have a responsibility to help the film and I have relations with the studio and with those who put up the money so that I can tell a story that I believe in.
'La Lupe' is my passion project. I've done it as a one-woman show, but I'm raising money to turn it into a film. It's a story of a Cuban singer who became the Queen of Latin Soul, the first woman on the N.Y. salsa scene.
HATE, even if it's making money. is an underground movie, that's how it was made. It's a film about police brutality in the largest sense, it's about the whole of society and not just about the hood.
You definitely want to do the little films. They're always going to be harder, but you don't do them to make money. You do them so you can see what you can make with the research that you have.
There's still a lot of investors wondering what to invest in. And, of course, I think entertainment looks attractive when you read the few films that make these insane amounts of money. What they don't know is they don't always do that.
I used the principles of Kickstarter to make 'She's Gotta Have It.' We filmed that in 1985 to 1986. The final cost was $175,000. I didn't have that money. It was friends, grants, donations. We saved our bottles for the nickel deposit.
My criteria for doing theater has always been slightly different than my criteria with movies, in that there are a lot of reasons to do films, having to do with location, money, and first and foremost having to do with script and role and director.
