By Ray Pride Pride@moviecitynews.com

Paul Verhoeven

“What comes out of making a movie can have more depth in retrospect than you really thought while you were doing it. There are, of course, elements in your brain that do these things while you’re not aware of it. You can read all these things into it afterwards, but it’s good that you’re not thinking about them while you’re doing it, otherwise you’re going to preach. Intrinsically it’s a commentary on American society, where everyone has a gun, but while we were making it, we weren’t thinking of it as a critical study of the United States, we were just laughing at our ideas. We don’t know if it’s Trump’s America. We hope it’s not. You couldn’t get a green-light on that movie today, certainly the way we made it. If you took all that stuff out, like they did with the remakes of RoboCop and Total Recall, you’d be taking out all the ambiguity, satire and irony. Straight, that’s what they want now. They think audiences are so stupid that they can’t handle another layer.”
~ Paul Verhoeven

 

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“It would be difficult to find something made by a human being that isn’t pregnant with a vision of the world. Likely impossible. It’s inherent to existence. It turns out that world visions can coincide with a certain hegemonic idea of what the world is —or not. It’s like when they say that “indie cinema” is intellectual, simply because it does not coincide with a narrative system the industry legitimates. But the industry is as intellectual as ‘indie’ movies. The difference is that one affirms reality, doesn’t call it into question. And not all ‘art movies’ are after that. You’ve got to call reality into doubt. Or better yet, I’d say you’ve got to be suspicious of reality. Because if you’re not, there’s no possible transformation. Every one of us who has done cinema —to speak just of moviemaking— has contributed our perspectives to a vision of the world. A community needs that —lots of perspectives. There will be times when some are valued more than others. But the really important thing is that a lot of different visions coexist. The big task is to facilitate that variety.”
~ Lucrecia Martel

“It’s a film festival’s job—and increasingly so—to create moments of recognition, of enjoyment, of shock, of learning. Not of consumerism. Not of implementing cultural policy. But moments without pretence, unclouded by vested interests, by intervention, by cynicism, by everyday business. Committed to nothing but the thing itself. Under obligation to nothing, to no one, not even to the filmmakers themselves. To basically seek access to a form that does not yet exist, a place no one has been to, a time that has not yet come. ’A form that thinks, and a thought that forms,’ as Jean-Luc Godard has it.”
~ Hans Hurch, late director of the Viennale