American - Director | May 18, 1949 -
I've stopped going to see art films because every critic gives them four stars and say things like 'masterpiece,' 'spellbinding' and 'mesmerizing.' I mean, they're doing that with my film, but I don't want to use those blurbs. Critical reviews aren't worth too much anymore because just about every film can get one or two of them.
Terry Zwigoff
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When I went around promoting 'Crumb,' there would be days I'd wake up in, like, Houston or Cleveland, and I'd step outside the hotel and get no idea where I was. It all looks the same: one big corporate, consumer theme park. It's all, 'Here's the Starbucks, and here's the Gap, and we'll go over to Banana Republic and the Cineplex.'
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And I sense it was a rather constructed, almost half narrative fiction film in some ways. A lot of it was staged and manipulated to get those things in there that I knew to be strong.
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The first scene I ever shot for 'Louie Bluie,' on that first day, I had never seen the camera before. I didn't know where to put it. I just knew what was strong about these guys and what I wanted to capture, so I tried to work backward from there and figure it out. Trial and error. Hopefully I got a little bit better at it.
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My hat's off to documentary filmmakers. I don't know if I'm ever going back to it. You're treated like a second-class citizen at most film festivals. You take the bus while everybody else is flown first-class. If you're a feature film director, you're put in a five-star hotel, and if you're a documentary director, you stay in a Motel 6.
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I hope they get something of interest out of it, but I'd rather they all hate it and I like it, instead of vice versa... I make films to please myself first, and if the audience likes them, all the better.
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It makes it difficult to decide which to go see, since no film about say, some tragic genocide in Africa is going to get a bad review even if it's poorly made.
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That would be getting up at 5 am... I don't understand why film's shoot such brutal hours. I think it'd be worth it to not be so strictly cost-effective and have an 8 hour day. The film's would benefit in the end.
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I was inspired to do anything I could to get out of what I was doing... today, I'm motivated to pay the bills.
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Whereas my producer literally worked on this thing for 10 years and because I gave that presenter credit to David Lynch, she to this day never gets credit. It really kills me.
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I think the other misconceptions when the film came out, he was very upset that it was so widely released and so widely seen. And neither one of us - well, I think I had hopes it would be, 'cause I really did think it was something special.
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Luckily, he was in the process of moving to France at the time, anyway. But if he had stayed in the States, I don't know how he would have handled that, because it was getting pretty crazy. I mean, a celebrity which he really did not welcome. And I can't blame him.
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