"When you make a film, you like to run it with an audience. They tell you you're narrow-minded or subjective, or that seems too long, or that doesn't work"
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Donner’s line is a quietly bracing defense of the test audience as both mirror and sparring partner. He isn’t romanticizing “the crowd” as some pure oracle; he’s describing a hard, practical ritual where a filmmaker’s private logic gets stress-tested in public. The sting is in the specific complaints he lists. “Narrow-minded or subjective” isn’t just about politics or taste - it’s the audience calling out the director’s blind spots, the unexamined assumptions that feel airtight inside the edit bay. Then the notes get brutally bodily: “too long,” “doesn’t work.” Time and attention become the real judges, less ideological than physiological.
The subtext is that cinema is collaborative even when the auteur myth says otherwise. Donner, a director associated with big, audience-facing studio films, is admitting that clarity and momentum aren’t compromises; they’re the medium’s contract. A movie is not a diary entry. It’s engineered empathy, and if the machine stalls, people tell you immediately.
There’s also a sly humility here: he frames feedback as accusation (“they tell you you’re...”) because that’s how it lands when you’ve lived with footage for months and confused familiarity with effectiveness. His intent is to normalize that discomfort. The context is a Hollywood tradition of previews and recuts - sometimes notorious, often necessary - where “subjective” becomes a useful insult. It reminds the filmmaker that their viewpoint is not the same thing as the viewer’s experience, and the gap between those two is where movies either become communication or self-indulgence.
The subtext is that cinema is collaborative even when the auteur myth says otherwise. Donner, a director associated with big, audience-facing studio films, is admitting that clarity and momentum aren’t compromises; they’re the medium’s contract. A movie is not a diary entry. It’s engineered empathy, and if the machine stalls, people tell you immediately.
There’s also a sly humility here: he frames feedback as accusation (“they tell you you’re...”) because that’s how it lands when you’ve lived with footage for months and confused familiarity with effectiveness. His intent is to normalize that discomfort. The context is a Hollywood tradition of previews and recuts - sometimes notorious, often necessary - where “subjective” becomes a useful insult. It reminds the filmmaker that their viewpoint is not the same thing as the viewer’s experience, and the gap between those two is where movies either become communication or self-indulgence.
Quote Details
| Topic | Movie |
|---|---|
| Source | Help us find the source |
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