“Mainstream films have occupied Hollywood but you can get bored very easily. It can be very repetitive and I think now we want something fresh and something inspiring and different, daring.
The mainstream film is very expensive to make and it scares people. It’s made for the worldwide audience, you have to please so many people, and the business men start running the movies rather than artists. This is back to the oldest way of Hollywood filmmaking, creating a fantasy, but it has been lost. It seems to take a foreign language film to recoup that ultimate movie viewing experience.”
—ANG LEE regarding his Academy award winning film,
Crouching Tiger Hidden Dragon
Ang Lee is an Academy Award-winning film director from Taiwan, well-known and critically acclaimed for his films The Wedding Banquet, Sense and Sensibility, Crouching Tiger Hidden Dragon, Brokeback Mountain and most recently Lust, Caution.
He is only one of two directors ever to received the prestigious Golden Lion award for best film in the Venice International Film Festival twice.
I believe in the power of the arts, especially cinema – that it can change or influence people’s perspectives. Cinema is such an encapsulating experience. You go inside the theatre. You are immersed in the story. You follow the characters. You are lost in those frames of images. Oftentimes, you will be carried helplessly by that current into a new world – discovery, or be carried back to a former world – nostalgia. Immersion means living that illusion, and that represents transcending the unreal to the real.
From the interview by Brandon Wee for his article:
“The Decade of Living Dangerously: A Chronicle from Lav Diaz“
on Senses of Cinema website.
Lavrente “Lav” Indico Diaz is a Filipino independent filmmaker who has received recognition and won many international and local awards for his films “Batang West Side” , “Ebolusyon ng Isang Pamilyang Pilipino” (Evolution of a Filipino Family), “Heremias, Book One”, and “Kagadanan sa banwaan ning mga engkanto” (Death in the Land of Encantos).
His films often delve into the socio-political issues of the Philippines.
Making a film is like taking a long trip. The film voyager can load up with a full tank and bring a credit card along to insure completion of the voyage in as short a time as posible.
The voyager can also load up with a few cups of gasoline and drive until he runs out and scrounge around for subsequent cups of gas to get to his destination, without worrying about how long it takes to complete the voyage.
Completing the artwork is the voyage all artists set out to do, whether painter, writer or filmaker.
–KIDLAT TAHIMIK (1942- ),
“Cups-of-Gas Filmmaking vs. Full-Tank-cum-Credit Card Fillmaking,”
Discourse, XI:2 September 1989
Tahimik, also known as Eric de Guia, is a Filipino movie director, writer, actor and artist whose films are associated through their critiques of neocolonialism with the Third Cinema movement. He currently resides in Baguio City, Philippines.
“Perhaps it sounds ridiculous, but the best thing that young filmmakers should do is to get hold of a camera and some film and make a movie of any kind at all.”
–STANLEY KUBRICK (1928-1999), unsourced.
Kubrick is an American film director whose many great classic films, such as Spartacus, Lolita, Dr. Strangelove, 2001: A Space Odyssey, and A Clockwork Orange, has inspired and educated many generations of filmmakers.