Bruce Beresford Quotes

A government institution called the Finnish Film Foundation funds filmmaking there, and I wrote several screenplays but never got any money. They were sent back to me, and they said that they were too commercial for them.

A novelty in Polish filmmaking was that it was possible to find funds for a big production. However, at the same time, the state budget committed less and less money to filmmaking.

It's great to make strong, powerful films, but in terms of people wanting to finance them, it's also very difficult.

The studios don't finance anymore, they get outside funds.

When I was planning Family Viewing, the Ontario Film Development Corporation came into existence.

I have come close to producing films. But generally by the time they hit the screen, there's about 50 people with producer credits, so what's the point. I usually find scripts I like with no money attached and take them to producers that I know and try to raise finance.

We need to work out who is paying for film; in the U.K., it is increasingly difficult to get production funds - and pre-sales demand more and more shot/cut material.

I've been in the game long enough to know what elements you have to package together to get a movie into production.

I don't think 'Guts' could get financed as a movie.

It's rare that a character film is easy to fund.

It's part of the film-making business and also part of the creative process - putting all the pieces together to make a movie, so that they all line up. Sometimes it looks like you have a lot of projects lined up, but some of them are in different stages.

It's just hard to get an independent film made.

Well, we are not doing that film actually. At least I am not at the moment, but we are making an effort to get it done; I don't know whether we'll get the financing for it. The old story we had it, it fell out of place and this and that.

All the arts are predominantly national, and therefore the Australian Film Commission should be funding us. The battle gets more and more vicious each year.

It's weathered many a storm, but the British film industry is, thankfully, still afloat.

On 'Platoon' I was offered in 1984 a very tiny part that Ivan Kane would go on to play. Then the financing fell out, and the film was scuttled for two years.

I'd always intended to make 'Far North' straight after 'The Warrior.' We had the rights to the short story, the script was in development, and I knew where I wanted to shoot it. It just took a long time getting the script together and raising the finance.

In the first years after 1989, films were partly financed from the state's budget as well as by public television. Still, except for a few special cases, most films are made this way.

I don't want to be in the film business. I'm not even sure it's a business.

Well, the studios don't really want to take those risks right off the bat. They'll take the risk after they've seen the finished product and say oh yeah we want that. This is a great film but they are hesitant to take the risk when you just see it on paper.

The long and short of it is that I am now in a position in England to green light movies, and that's really excellent - not high-budget movies, but movies none the less.

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.

Our films have the ability to tell global audiences who we are, and this is something the government should feel compelled to protect. My film, 'Bend it Like Beckham,' for example, would not have been made without the backing and support of the U.K. Film Council.

The film business has so many twists and turns that it's a miracle any film gets made.

Nowadays, to get a movie greenlit, you have to make an incredible effort.