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I've been told my movies are difficult to market.

So much of selling a film in the industry is about creating a fulcrum where all the pressure comes to bear, and something seems suddenly valuable and approved by an audience. It's amazing how people could pick up tons of films on the cheap, but they don't because they wait until everything is laid out for them.

Movies are hard work. The public doesn't see that. The critics don't see it. But they're a lot of work. A lot of work.

Marketing has supplanted story as the primary force behind the worthiness of making a film, and that's a very sad thing. It's film only as a function of consumerism rather than as an important component of our culture, and that's everywhere around the world.

Movies are a commercial medium. We don't make movies to impress our friends and critics. It's an expensive medium. We have to gain money from it.

Many of the critics today get airline tickets, hotel accommodation, bags, beautiful photographs, gifts and other expenses paid by the distributors, and then are supposed to write serious articles about the movie.

In this age of consumerism film criticism all over the world - in America first but also in Europe - has become something that caters for the movie industry instead of being a counterbalance.

Market forces impose certain rules before a film can actually get made.

We don't make movies for critics. I've done four movies; there's millions upon millions upon millions of people who've paid to see them. Somebody likes them. My greatest joy is to sit anonymously in a dark theater and watch it with an audience, a paying audience.

You make movies for the people. If critics happen to like them too, well, that's a home run.