Art Film Quotes

I don't think American independent films have ever really been particularly experimental, except for the original guys from the '60s who were huge influences, like Stan Brakhage, Robert Breer, and Stan van der Beek. They were the true independents.

It's amazing how everyone has their different ways of working. I like hearing about that process, reading about it. I have so much appreciation for movies because I understand how hard it is to make one. There is always something I gain from watching a movie, whether it's a silly romantic comedy or an art film.

Whether you're in a blockbuster or an art film, you have to be able to adapt.

'Piku' is not at all a film in the Bollywood kind of way.

I liked the Hollywood stuff. But I also liked the fact that in both, you know, I guess in the, like, the auteur, the art film auteur at that time was Lina Wertmuller. So, you go see "Swept Away" or you go see a movie she did "Blood Feud" with Sophia Loren and Giancarlo Giannini. And I remember "Wifemistress" was a big movie at that time, really liked it, Laura Antonelli.

I don't like differentiating between art and commercial cinema.

I want to act in a film like 'The Pianist.'

It is said that anyone who does commercial cinema is not acting, and anyone who does an art film is acting. I don't believe it. I feel whenever you are doing a film, you are acting. So you need to be applauded for that. I won't do art house cinemas. I want to make commercial films. I want my films to make money.

I guess I'm part of the art house, but we really have to shake up our ideas, because we're kind of self-parodying ourselves. We go places commercial cinema doesn't go, but sometimes it's to our own detriment.

I would rather do really good French films than 'American Pie.'

Basically, I have always wanted to have an art-house cinema. A cinema where we can show films that are not necessarily the current offerings on circuit and films that are not commercial.

I love Donnie Darko movie so much. Just before I got that script, I had been to see some European art film. I walked out of that movie and said to my husband, "That's what I want to do! I want to do an art film and take it to the edge." Within two weeks, we were getting ready to go on vacation, and my agent called.

I remember when I did 'Mrityudand' there was this big hoo-ha, and people were asking me why I was doing an art movie, and I would just tell them that, 'You know, what's the big deal, it's a movie.' I'm so glad that's a thing of the past.

If you ask me, I alternate between truly bizarre, what you would call 'Hollywood' movies and truly bizarre, what you would call 'arthouse' movies.

How content-driven cinema worked so well... Yeah, the shift is definitely happening... It is such a good change, and it is the kind of change I would like to see so that we just go to watch a film and not put them into brackets - that this is an art film or commercial movie.

There is always something I gain from watching a movie, whether it's a silly romantic comedy or an art film.

The boundaries between contemporary art and cinema are so rigid. It's unbelievable. The film critics don't know my artwork and the art world doesn't know my films.

People talk about making art films - experimental films. I can make an art film every day of the week. Nothing to it. What's difficult is to combine a commercial film with art.

I don't make a division between an art film and commercial art.

We intellectualize it, and we rationalize it, but it's really about a love of movies, and I think whether you're making an art film or you're making a genre film, if you don't really love that movie you are trying to make, you'll be able to tell.

I think the art film, or the auteur-driven film - and not only foreign, but domestic films following that path - can get a small share of the box office. And I think that small share may open up a little bit.

I love my arthouse films, and I love taking a chance.

People who would go to an arthouse cinema and watch a Swedish movie and read subtitles... it's a small percentage.

The worst thing you can do is make a cult movie. That means you got three great reviews and nobody went. An art film means it got a lot of good reviews and nobody went. There is no such thing as a counter culture now. What used to be considered that is commercial now.