Film Quotes
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I've love to do more movies. Just because I'm interested in the medium very much. I've done a lot of theatre at this point, and I've done a lot of TV. I've done a few independent films, but a lot of them have not seen the light of day. It'd be really nice to be in a film that gets out there.
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I never thought in terms of a "breakthrough" film. I wasn't looking for fame or a career path into Hollywood. I was doing it for myself. I just wanted to make a film that I really loved. If other people liked it, great. But you can never guess what other people are going to like.
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I hate period films - and there are plenty of them - where they say, "Let's not do contemporary language because the audience won't understand it;" "let's not make the girls wear corsets, because it's not sexy" and all that sort of thing. Gradually it disintegrates into a no man's land: you don't really believe it's a period scene and it doesn't feel like it's now because it's not now. You don't feel it's quite real and you don't believe in it.
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I had built my body to look like a boxer, then I lost it completely for 'Tanu Weds Manu Returns.' It was really tough gaining weight, building muscles, and then losing it completely for another film.
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I would certainly say that films like Time Code and the Loss of Sexual Innocence were far more rewarding to me in terms of being able to move forward as a filmmaker.
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I'm pretty fortunate that I'm in the films I'm in largely because the directors have asked me to be in them. I'd love to do more of them, but the writing and historical stuff I'll probably always do.
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Meryl Stripe spoke out about the low percentage of female critics on Rotten Tomatoes. Why are there 760 male critics and just 168 women? You are immediately biased on what kind of films you are being told to go see. What are you told are good films? Male films.
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Gene Wilder made his movie debut in "Bonnie And Clyde," starred in the Mel Brooks films "The Producers," "Young Frankenstein" and "Blazing Saddles," played opposite Richard Pryor in "Silver Streak" and "Stir Crazy" and portrayed the candy-maker in "Willy Wonka And The Chocolate Factory."
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I think that's true of all cinema, that's why cinema is the great humanistic art form. Whatever the film is, it doesn't matter what the film is about, or even whether it's a narrative or figurative film at all, it's an invitation to step into somebody else's shoes. Even if it's the filmmaker's shoes filming a landscape, you go into somebody else's shoes and you look out of their lens, you look out of their eyes and their imagination. That's what going to the pictures is all about.
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Summer blockbusters are very expensive to make. They have things that have to be expensive, such as 600 effects shots or CG characters that have to go a certain way, or a film design that is different but expensive.
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If the overall quality of your film depends on what you shot it on, you aren't ready to make a film.
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Playing the lead in a film where you shoot for three months away from home is not an easy thing for me when my children are in school and my husband is running a theatre company.
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My favorite films are the ones that I walk away from and I know I saw a story.
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The embarrassing thing is that my salad dressing is out-grossing my films.
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There are certain filmmakers I'd like to work with that I don't think would take a risk with me, because I could be distracting in their film. It'll take a couple films to prove to them that it's worth the risk.
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I have a film I want to direct. Gena Rowlands was going to do it with me a long time ago. It's about an older woman who's running a ranch in the west the old fashioned way.
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Consider this 're-make' business that is taking away opportunities for new ideas and new films to happen. If the movie was made right the first time, why make it again? The only reason this is happening is it has become a safer way for the Studios.
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As far as commercials were concerned, I did very few, and I did them only when they gave me carte blanche to them the way that I wanted to. And I did them as an exercise, because I, who do very long films, never thought I would be able to tell a story in 30 or 40 seconds - you come across a whole new system and manner of approaching a subject.
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Son of Saul film is extremely emotional; you're watching people walk in, you're watching people die. It centers around a child that goes into the ovens but survives the gassing.
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Well, we are not doing that film actually. At least I am not at the moment, but we are making an effort to get it done; I don't know whether we'll get the financing for it. The old story we had it, it fell out of place and this and that.
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Records are only one-dimensional. Even film is only one-dimensional. That's why music and live theatre is so important, because it's not the same thing. A recording is just a record of part of the experience, but it's not the whole experience.
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I've often sat down with people talking about a film I've been in, and they haven't realized I was in it.
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It makes it difficult to decide which to go see, since no film about say, some tragic genocide in Africa is going to get a bad review even if it's poorly made.
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I was into fantasy more than horror. I was growing up in the mid-'70s through the '80s, and I also got a healthy dose of that classic era of film.
