I wanted to make Jerusalem as feature film. But we couldn't finance it only through theatrical release, we couldn't get all the money we needed. We had to get some money from television. So we said, ok, let's do it both ways. So we did it in four parts.
The class distinctions proper to a democratic society are not those of rank or money, still less, as is apt to happen when these are abandoned, of race, but of age.
Get that right, then- if you get the quality right, then the marketability or whatever; your ability to sell videos or your ability to earn money or whatever, will follow naturally. But try to be creatively lead rather than market lead. And that's important to me.
Not so much in Canada, but certainly in the US, as I'm sure you know, money is all, and if they can get another 26 programs of the same thing even though it advances the culture or those actor's careers not at all it doesn't matter.
I think people enjoy reading about money, but the people who are in charge of giving me guidance tell me not to talk about it in interviews. Why not? That's what everybody thinks about.
At a certain point he was very popular, from THE RAVEN. He was never fully appreciated, never made the money, and you know he was looked upon with admiration by some people, but also as an oddball. But that was his point.
We're kidding on that. One of the things I insisted upon when we went into this project was that we are full partners, going fifty-fifty, both on the money and on the say of what's going on with the books.
