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It is marketing that makes films popular. Cross-marketing. Selling movies with hamburgers and Coke. (Allard J)
My films went to numerous film festivals. I was stunned at how shallow the films were and how much alike. And how politically correct. Not only did you have to be young, but also too a member of some minority. Teenage angst, gay, lesbian, any film about a woman as a victim. (Allard J)
Movies are movies, television is television. (Allard J)
The neurosis of all this ageism is that Harrison Ford, Eastwood, Redford, Newman, etc., etc., have been playing heartthrobs until they need more filters than a pack of Camels. And their girlfriends are in their 20s. But being a Movie Star changes all the rules. (Allard J)
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Films must all have the same structure. All of this to guarantee box office bonanza, which of course it never does, but that's another discussion entirely. (Allard J)
We live in an age of experts, and if you are a TV star... it is difficult, if not impossible, to gain respect as a writer of the kind of books I've written or the kind of film I wrote and directed. (Allard J)
If you want to have something to say about the voice or vision of a film, go to Harvard Business School. Become a Studio Exec. But don't become a writer. Or director, for that matter. (Allard J)
I maintain you can make a film/TV star out of a can of sardines. (Allard J)
I can tell the difference between something filmed, like we did back then, and the computer-generated effects of today. Ours looked real on film because they were real. (Allard J)
Festivals today are driven by female perspective. My film is about heterosexual men over 40. And it was very much alone. (Allard J)
The only difference from one $100 million budget film to another is which of the 12 box stars are getting $20 million to be in it. (Allard J)
I was an actor. I wanted to act. But... I didn't want to be a movie star. Never had wanted to be a movie star. I was so naive as to assume that anyone who knew me would know that went without saying. (Allard J)
Films are about emotions. They are, for the most part and certainly in today's mainstream film world, NOT about ideas. Not thought-provoking. They are all about EMOTION. FEELINGS. (Allard J)
It's great to be in a film that's able to have people really want to become socially conscious, to walk out of the theatre and want to do something. (Allard J)
But most scripts are terrible. Most projects are bad, that's just kind of the way it is. And I'm not really attracted to those. (Allard J)
I don't like movies that are trying to preach and trying to tell you how to feel. (Allard J)
All of their experiences were the stuff of epic films — things they had to go through in those 100 days. It was amazing. (Allard J)
Hotel Rwanda (Allard J)
Please keep it up, don't drop it. This was the scene ... that really made me want to do the movie. (Allard J)
Things Behind the Sun. (Allard J)
People saw the film and said, 'Wow that was terrible. I wish I had known.' Now you know. (Allard J)
Traffic. (Allard J)
It's a film that doesn't end when the credits roll. It's a discussion that we've heard out in the world many, many times, and it's great that it's just started a dialogue about things that people, on the surface, seem not to want to talk about. (Allard J)
After a week of reconstructing film, I realized I hit in the middle of Asian stock crisis. The money that was promised to back up my film was cut off so I had to put my own money. That was the biggest problem. (Allard J)
After making Legend, which is a period piece, set mainly in exteriors and with a lot of martial arts, I wanted to make a totally different kind of film for my second movie. (Allard J)
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