When you’re a film director, you’re not just in production. You’re at the very centre of it.
The budget for an action film, like James Mangold’s The Wolverine, costs $175million (£118.75million).
When you take this out, you end up with a film budget of $200million (£134.67million).
A director should have that kind of budget – and to reach that budget, they have to be able to deliver, which is one of the major challenges.
I mean, most filmmakers never reach the $200million budget – and that’s fine. That’s just the reality of the business.
Image caption Liam Hemsworth had to work his way up from a student film to playing the titular character in Thor in 2014
The other factor is that I think audiences love the underdog story. Films like 12 Years A Slave and Hunger Games don’t necessarily have to go big or be a financial failure.
The films that have done well, like Iron Man and the Hunger Games, are the ones that have made them a success, because audiences are aware of the character, they recognize the director’s vision, and they understand that his film takes place in the USA, and it’s about these incredibly flawed people who get together to work together for a greater good.
I think one of the beautiful things about superhero films – and it’s happening around the world – is that audiences don’t seem to care, but the audiences are coming to see a really good movie on a big screen.
A movie like 12 Years A Slave, with its global reach, has made money for a lot of other filmmakers, but they still haven’t made much for themselves.
I think when the audience sees a film like 12 Years A Slave on a big screen, they’re not in a place of concern about the film’s financial prospects; they’re in a place of concern about being a decent human being.
There’s a level of vulnerability between a film and audience, which is good – I think film companies like to show, ‘Hey, you can work in this kind of environment’.
Image caption Marvel is investing in more Marvel films – the Hulk, Captain America Civil War and Doctor Strange all feature in the MCU – as well as The Avengers and its sequel
I think the biggest challenge now is to become the sort of storyteller and filmmaker that audiences want to see. That’s all that matters,
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