I can't always be making 'British films.' Why should we be making films about corsets and horses and girls learning to drive when Americans send over an event movie and make five or 10 million?
From Noel Clarke
I don't think I'm egotistical, and I know what my limits are: I'm a black guy who's probably losing his hair. But I'm happy to play roles that I'm given, and I'm happy to play roles that I write.
After 'Kidulthood,' I was called in to a meeting and told that I didn't write women very well. I was very annoyed.
I was offered and accepted a part in 'A Few Best Men,' and then the Australian actor's union argued that there were too many British actors. And the director decided to lose me.
I think the British industry is set up to support British film, if we make films that enable them to support it. If you don't make a commercial film, distributors can't get behind it. If they don't get behind it, the film doesn't do well.
I think most people, no matter their status now, have big screen TVs, because they're the standard TVs now. And so why would you go to the cinema?
My past films came out on home entertainment in the U.S., so the next question was, how do we get a theatrical in the U.S.? Well, you put a monster in it. That will do it, because people love monster movies.
When I wrote 'Kidulthood,' I didn't even know there was going to be a 'Kidulthood.' I just wanted to test myself to see if I could write a script.
I wouldn't say that I'm a jack-of-all-trades, master of none, but I wouldn't say that I'm brilliant at any.
'Pulp Fiction' blew my mind; beforehand, I'd watch films and there was a beginning, middle and an end, and that's it. There is in that film, too, but it's out of sequence.
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