International Filmmaking Quotes

I like movies made by Spike Lee - doing those films out of the U.S., that is really daring.

In America, they shoot budgets and schedules, and they don't shoot films any more. There's more opportunity in Europe to make films that at least have a purity of intent.

I'm besotted by [Kirsten Dunst] now. I think she's just wonderful. I can't think for a second that however much she'd worked in America, she would never have had the chance to play [a role in Lars Von Trier's 'Melancholia' ] like that. You have to get outside of the States to do something like that.

In a way, the truth is that I was dreaming to do a movie in the United States just because, as a filmmaker, I always loved the idea of trying to make movies in a different culture, in a different way. It's always interesting to make a movie abroad.

I went to Yugoslavia to make a movie. People saw me there and asked me to do a movie in Germany. And that led to a movie in Italy. Before I knew it, I was in Europe for most of the next 10 years.

But we did the Pink Panther not in Hollywood, in Italy.

I don't think the idea of working in Hollywood really exists anymore. I think you work in films, and where the film is shot is where it's shot. The studio system doesn't really exist.

The size difference on a Warner Bros. film versus the small productions I had been on in Europe was enormous. You go from 20 people on set to 150.

Hollywood is a wonderful machine for making big movies. In France, we make smaller and more personal films, but if things keep changing, this will disappear. The industry in Italy is practically gone. Cinecitta now is used mostly by filmmakers from others places, like Martin Scorsese.

Well, everything is constantly evolving and changing. That's what life is all about. But basically Hollywood has lost its focus as a film center. Films are now made all over the world.

I'm less comfortable making American movies because I don't know them so well.

I appreciate it if I make a Chinese film. And if there is an opportunity to make a Hollywood film, I will take it - especially because, as you probably know, in Hollywood, even today, there are not a lot of big roles for Asian performers. So it is a great opportunity. It is possible to make films that people everywhere enjoy. I travel quite a lot. I don't really feel like when I am in China, I am a Chinese person and when I'm here, I'm a foreigner. I don't feel that kind of difference anymore. In the past I did. Not anymore. I feel quite at home everywhere. The whole world is my home.

I would love to meet some directors, and why not do some other movies in America? But, I'm not obsessed with this idea. I'm feeling very free in Europe.

But, I've made films in Japan, in Yugoslavia, all over Europe, all over the United States, Mexico, but not Hollywood.

I like to work with artists from around the world. There are so many new inspiring filmmakers.

It is a big thing to work in a foreign film.

Nowadays they either want to move the film to Canada or in some cases they go to Prague or Romania or they want to keep 'em down in L.A.

I've never been to film school. I had to leave this country to make a film. All they would let me do in Hollywood was be a messenger.

I don't really make films in Denmark. 'Bronson' was shot in Rottingham, 'Valhalla Rising' was made in Glasgow, and 'Drive' was made in Hollywood.

There's no need to live in L.A. Half of Hollywood's films are shot in London, anyway.

The difference between working on Asian and American films is in the producer and director; everyone has their own style. But, Hollywood has a lot more money; they can spend a lot on films, and time. In Europe, there's a small budget and thinking about commercial. Only budget and taste is different between there and Hollywood.

Overseas directors who want to work in Hollywood, the language barrier is not a problem. With the right talent, any director can be successful.

When you're able to shoot in Europe and internationally, those locations don't lie. The feeling doesn't lie, the quality of the light. You can always tell when it's shot in London.

Inarritu's own nomination for Best Director for 'Babel' was the first such honor for a Mexican director.

I think the three Mexican directors that came before me did a very good job in Hollywood because they came in and started directing things like 'Harry Potter.'