"I make movies I want to see"
About this Quote
There is a small act of defiance tucked into Neil LaBute's plainspoken claim: "I make movies I want to see". It's the kind of sentence that sounds humble until you remember how little of the modern film economy is built around any one person's desire. In an industry run on test screenings, IP mining, and demographic math, LaBute frames authorship as appetite, not market research. The verb "want" matters: not "need", not "should", not "must". It's taste, impulse, even stubbornness.
The line also doubles as a preemptive defense against backlash. LaBute's work often courts discomfort - moral cruelty, sexual politics, the awkward comedy of power. Saying he makes what he wants to watch quietly refuses the demand that art be broadly likable or pedagogically "good". It positions controversy as a byproduct of sincerity rather than provocation for its own sake. If you hate it, the subtext goes, you're not the target; he was.
Context sharpens the edge. LaBute emerged from theater with an intentionally abrasive voice, then moved into indie film at a moment when "personal" cinema was still a viable brand. As budgets tightened and studio risk narrowed, "I" became both a creative flag and a survival tactic: the director as niche provider, making films for an imagined audience that begins with himself. It works because it's both romantic and calculating - a manifesto that sounds pure while acknowledging that the only dependable viewer is the one behind the camera.
The line also doubles as a preemptive defense against backlash. LaBute's work often courts discomfort - moral cruelty, sexual politics, the awkward comedy of power. Saying he makes what he wants to watch quietly refuses the demand that art be broadly likable or pedagogically "good". It positions controversy as a byproduct of sincerity rather than provocation for its own sake. If you hate it, the subtext goes, you're not the target; he was.
Context sharpens the edge. LaBute emerged from theater with an intentionally abrasive voice, then moved into indie film at a moment when "personal" cinema was still a viable brand. As budgets tightened and studio risk narrowed, "I" became both a creative flag and a survival tactic: the director as niche provider, making films for an imagined audience that begins with himself. It works because it's both romantic and calculating - a manifesto that sounds pure while acknowledging that the only dependable viewer is the one behind the camera.
Quote Details
| Topic | Movie |
|---|---|
| Source | Help us find the source |
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