Film Quotes
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I want to make these films that I think other people would be scared to do. I don't think anyone can go off and make a rock opera. I think it's a very specific niche.
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If anything could have pulled me out of retirement it would have been an Indiana Jones film.
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Obviously, I try to make the films work for an audience. That's the main point of making a film, and in retrospect, one can see that certain films, let's say Leaving Las Vegas, demonstrated its own success.
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In my view the plangent artificiality of a lot of creative work results from the fact that the people who write novels, direct films and put on plays tend to read too many novels, watch too many films and go to too many plays.
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When you have all the bells and whistles - you've got the big, fancy catering, you've got the big, fancy car service and the big, fancy trailer - it makes it very comfortable and everybody's making a lot of money. But that doesn't necessarily mean you're going to end up with a great film.
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I got into television criticism because I thought it would be easier than film criticism. Film, you had to know 100 years of history, and TV you only had to know 40 when I started. And I thought, "Well, that's going to be so much easier." But film stayed pretty much the same. And television has changed so many times that my head hurts. So I made the wrong call there.
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Film is a collaborative process, absolutely, but I am a control freak.
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When you go into a film, you read it, and something clicks for you, and you like it, and you sign on for it; you go for it. You know that this is going to be a good film, and that is your best hope. Past that, it's a crap shoot - you roll the dice.
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I just filmed a movie with my boyfriend, an indie film called 'Conception.' And it's kind of like an R-rated version of 'Valentine's Day.' So it's like all about eight couples, and me and my boyfriend play one of them together. And that was a lot of fun.
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You need philosophy. It sounds a little pompous but I think when you direct a film, the only way to find a response to the questions you keep asking yourself is to have a philosophy.
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I have a goal to do my own animated film, something all my own.
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I've always been such a fan of short films - in fact, I never considered that I would actually make a feature. I just thought I wanted to make shorts for the rest of my life. They are a lot harder to have shown and a lot harder to find and see as an audience, but I don't know. It's just a form that I really love. I was just making them for the process, but ultimately, I did get them into festivals, and they did end up on television, and they had as much of a life as short films can.
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It's really just a freedom that we have with Amazon to push ourselves creatively. It allowed me to say, you know, okay this is going to be a little half-hour film here to start the season.
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To me, a film is like a piece of architecture. There are so many details that all, in the end, end up being one thing.
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The director is the only person on the set who has seen the film. Your job as a director is to show up every day and know where everything will fit into the film.
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By drawing or exposing two or more patterns on the same bit of film I can create harmony and textual effects.
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I love the idea I can go off with a single camera and a few rolls of film unencumbered... I was not interested in the illusion of reality, I wanted to get close to what was happening.
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My job apart from anything else is to build an ensemble composed of actors who all come from a secure place so that they can all work together to make the film.
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As a younger actor coming up, I wanted to be in films. There's something special about being on film sets; there's an excitement; the people in every department are passionate about what they do.
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The scripts for Marco Polo are absolutely, positively fantastic. The challenge of making that show in China has proved to be as formidable as we feared. It's not like making a movie in China where, once you load up and you leave, you're gone. We have to be able to come back and capture something that's going to feel like a major feature film, on a television budget, and do it, hopefully season after season, so we are taking more time than the producers thought.
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It is incredibly daunting to take on a live-action story. I think that it adds a level of complexity to the responsibility that goes beyond what I've experienced on these two films (The Lorax and Horton Hears a Who).
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I'm happy to say that I have not been fired off a film. The score is usually the last thing to be done. So a lot lands on the scores shoulders. A lot of problems that seem to have nothing to do with the music gets blamed on the music , because it's relatively cheap to change, where as a reshoot etc is not. Music is often expected to help or fix bad cuts, bad acting, bad filming, bad timing, you name it.
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Gleaning is getting things that are abandoned. I did not abandon my early pictures, my photos, my early films. It's just going through my body of work as something I can pick from.
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We are fine whether they film us or not.
