Top 25 Brad Anderson Quotes

What drew me into making movies is trying to make characters that step off the screen.

We all have aspects of ourselves that we my not be aware of. Actors in particular – they have multiple personality disorder. They get paid a lot of money to exhibit that.

I don’t see myself doing any comedies. I like comedies as much as anyone else; I just don’t really have a desire to do them.

Things have a tendency in the film business to fall apart more often than they come together.

As a species, we’ve always been interested in what happens when we’re no longer around, all the way back to ‘Revelations’ in ‘The New Testament.’

I did a lot of traveling after college on trains through India, China, and Russia. I somehow managed to make it back in one piece, and I actually pulled a lot of the anecdotal experiences into the making of ‘Transsiberian.’

When I went to Sundance back in 1998, indie film was all the rage, and Miramax was throwing down five or six million dollars for several films each year. Those were the salad days of indie film, and those days are over. I’m not out there worrying too much about it.

Persistence is half the battle. That’s what I love about independent movies. They don’t have to be made. There’s no studio with an agenda to set up a franchise like ‘Batman’ or to make a vehicle for a celebrity actor. My films are made because I love the process.

I’ve never been in the studio world; TV is as close as I get to the more corporate approach to making entertainment.

I just like stories in which characters are struggling with something, whether it’s an external force like in ‘Vanishing,’ or in ‘Session 9,’ where it’s more of a monster within the mind.

I’m extremely excited about working with Troika on ‘The Hive.’ This script has two elements I always look for in a thriller – strong, believable female characters and a smart, very dark and very creepy story that will definitely resonate with large audiences.

I don’t think of the ‘indie film world’ as this cohesive kind of world anyhow. It’s so disparate: all these different filmmakers seeking financing from many different sources to make different kinds of movies. It’s hard to pinpoint a trend, really.

If you’re making a film, you’ve got to have one eye to the audience and one eye to what excites you about it, and sometimes it’s not the same thing.

‘Session 9’ can be interpreted in different ways. You can get the sense that Gordon breathes in an evil spirit but can also be read as a much more clinical movie that shows a man who becomes unhinged or may be going mad. An inspiration was Nicolas Roeg’s ‘Don’t Look Now.’

My favorite filmmakers are in the Kubrick, Polanski kind of mold. I just like that world. I think it’s more cinematic and gets under your skin more.

I find psychological thrillers interesting both dramatically and visually.

True horror, I think, deals with dread and menace and gets under your skin.

There’s something bizarrely funny about a guy who doesn’t realise he’s, in essence, a dog chasing his own tail.

I like characters who aren’t typically heroic and come to some sort of epiphany about themselves.

I’ve always liked dark, creepy movies, but for some reason, I started on the film scene with romantic comedies.

I’m drawn to a story partly based on the fact that it’s something I might not be as familiar with.

Part of my reason for ‘Session 9’ was to break out, to destroy the illusion of me as ‘Mr. Romantic Comedy Guy.’

As a filmmaker, you just make the movie you want to make, and you sort of put your faith in the distributor to make sure the right people see it.

It’s such a great city, visually. You can’t get that kind of look in Canada that you can get in Boston: the old-brick historical buildings, the winding streets, the old but funky neighborhoods like Southie and Somerville. You can’t get that elsewhere. It’s a very unique place in that way.

There’s a difference between telling a story and not providing an explanation because you just don’t do it well or pull it off.