Guy Pearce Quotes

Box office is one of the strongest tools we have toward preserving our ability to make our movies. We really can make a difference by purchasing a ticket each opening weekend to a movie made by a woman, even if you don't like the movie or the filmmaker and even if you don't see the film.

Danish film is spreading in a fantastic way.

I continually marvel at people who can make films that reach five hundred million people. How do you do that? Everybody's different - I don't know how that works.

If you look at film, distribution is pre-bought. If you've paid for the distribution, you say, 'I have to make sure it's a film that gets enough butts in the seats.' I think that's the problem: It becomes prohibitively expensive, and you can't develop films for a smaller amount of money.

I'm from Australia, where the film industry is potent but small.

There were a lot of people dreaming about making films, and they would finance maybe 6 films a year. Because they were funded by the government, the films sort-of had to deal with serious social issues - and, as a result, nobody went to see those films.

The U.K. needs more first class studio space to encourage the growth of the film and TV sector.

There's like a shift in the paradigm about every 15 years in movies because one would slip through the cracks. I think if they were more inexpensive you would see many more eclectic comedies being made.

I think, often with Australian films, if an Australian film has been given the seal of approval by an offshore festival or an offshore release, then it does mean a lot to a local audience.

As soon as you make some films that people like, you'll be sent material, and that can come from anywhere.

National film industries tend to move in cycles. In Australia right now, we're on a high, a feeling of potential, which as yet shows no sign of flagging. But the word 'industry' is misleading. A small national cinema has no industry in the Hollywood sense.

I think, quite often, filmmakers kind of think so much about what the franchise will be and sometimes can neglect to put their efforts into the movie that they are actually making.

I want people to see my movies.

Punjabi film industry is not yet ready to give change to new actors, but if Punjabi singers, who already have a fan following, enter the industry, it will be a great help to uplift the industry.

Hollywood is here to stay, and we have to keep the momentum going.

That's realism: a fact that if the audiences don't move out and watch good films at the theatre, people will stop making them.

We're writing movies that people buy without thinking about it.

We have always wanted to give back to cinema, and we couldn't possibly think of a better way to do that than facilitate films which we believe will make Malayalam cinema proud.

The film business is just one of our verticals. We have wanted for some time to make inroads into the English language market, because I think that over time such films can cross over into the international market.

When you make a film you make a film. You don't think about how it will be marketed.

Singing for Bollywood films has an altogether different approach, as the industry has a wider reach. It has helped me reach parts of India which I didn't know existed.

The trouble is, the older you get, it's hard to find time to make a film: it's a year to write, a year to get money, a year to make it, a year to edit. It's four years of your life.

The usual key to getting films made seems to be a producer's terrier-like determination not to let it go. Unfortunately, such producers often seem prone to sinking their claws into mediocre projects.

I do a film because I would love to be a part of it, but I also think from the audience's perspective. Our profession survives because of our audience.

Film is one small voice in a great cacophony of noise from newspapers, from the television, from social media, so it can have a little dent, you know? It can help to create a climate of opinion.