"No film should try to follow a trend, and do what film people think the public wants. There's no such thing as knowing what the public wants"
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Bates is taking a scalpel to the industry’s favorite superstition: that “the public” is a readable mind, a predictable dataset, a creature that can be served by committee. Coming from an actor who worked through British New Wave grit, prestige period pieces, and the slow corporatization of cinema, the line lands as both warning and weary diagnosis. He’s not romanticizing art-for-art’s-sake so much as calling out the practical fraud of trend-chasing: it’s marketed as realism, but it’s really anxiety in a suit.
The intent is bluntly corrective. “Film people” is doing heavy lifting here, a small phrase that names a whole ecosystem of executives, gatekeepers, and tastemakers who treat audience desire as something they can pre-package, then blame “market demand” when the package fails. Bates flips that accountability. If nobody can know what the public wants, then the industry’s justifications for safe choices are revealed as self-protection, not insight.
The subtext is also actorly: performances, like audiences, don’t thrive under micromanaged prediction. A film made to satisfy an imagined consumer tends to sand off the specific, risky details that make stories feel lived-in. Bates implies that authenticity isn’t just morally nicer; it’s strategically smarter. Surprise is the only reliable appetite.
Context matters: he’s speaking from an era when cinema was increasingly pressured to behave like an algorithm before algorithms were even in the room. His point still stings because it undercuts today’s content logic, too: the more the business insists it can model desire, the more it confuses familiarity with inevitability.
The intent is bluntly corrective. “Film people” is doing heavy lifting here, a small phrase that names a whole ecosystem of executives, gatekeepers, and tastemakers who treat audience desire as something they can pre-package, then blame “market demand” when the package fails. Bates flips that accountability. If nobody can know what the public wants, then the industry’s justifications for safe choices are revealed as self-protection, not insight.
The subtext is also actorly: performances, like audiences, don’t thrive under micromanaged prediction. A film made to satisfy an imagined consumer tends to sand off the specific, risky details that make stories feel lived-in. Bates implies that authenticity isn’t just morally nicer; it’s strategically smarter. Surprise is the only reliable appetite.
Context matters: he’s speaking from an era when cinema was increasingly pressured to behave like an algorithm before algorithms were even in the room. His point still stings because it undercuts today’s content logic, too: the more the business insists it can model desire, the more it confuses familiarity with inevitability.
Quote Details
| Topic | Movie |
|---|---|
| Source | Help us find the source |
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