I'm doing my best to stay off that financing scheme that relies on this one strip of capital, which is the red carpet. And - no sob story - but it's hard. It takes a while.
I feel like reality TV has thrown a difficult wrench in the system - on the programming and making side, and on the curating side - which is that we now have a higher threshold for the salacious. We have a higher threshold, unprecedented, for fast, cheap, and out of control.
All filmmakers want the option to make another film, to have it not always be such an uphill battle - for it to be our life, our working life.
You can't make movies without known names, and unknowns can't become known, because they can't get work.
I don't want to be on a soapbox, but I feel like a lot of documentary filmmakers are part of the ancient tradition of writing down notes, of saying, 'Hey people, hey people!'
The protagonist in 'Winter's Bone' was a really good role for a female. She was strong; she didn't have to conform to something or be a sidekick to any man. That's part of what you're responding to; it's a woman-centric situation. Her value in the film was not reliant on any man.
