Film Quotes
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I see a film as a puzzle, with a beginning, middle, and end, but I like to start at the end sometimes.
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Television is very different than working on film. With films, you get to develop a set of characters, and then, at the end of the film, you have to throw them away.
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If I make two films in a year, they'll be different. This is my style - I can't have just one way.
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Take a film of Jacques Tati like Mon Oncle which has something quite new - for me, unique - in it.
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A theatrical on a tight budget really only becomes about generating critical reviews for you and your film, not revenue.
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To me, the box-office is basically the cost of film. If your film costs so much and your box-office is so much and a bit more, you are okay.
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I am a loyalist and I really absolutely love film.
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I just feel like it's so amazing every few years when I'm not making a film to act and basically go back to film school and just watch other filmmakers work and try to be a part of somebody else's vision. So I feel like you do use two very different parts of your brain, and it's great to be able to jump back and forth.
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Feature film can have a major role in explaining ideas and describing peoples' lives and their struggles.
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When I do the music, I make the musicians listen to what's happening in the film. That way they treat the dialogue as if it was a singer.
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Carl Rinsch has a good balance between the visual and the drama and action, so I thought if he's going to direct, we can make a new, epic film. My fear was gone when I met him.
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I love the idea of longevity in this career. But producing is not about, "Let me do this because this might happen 20 years down the line." Sleepwalking wasn't a vehicle for me, it was a film that pushed the envelope. I want to produce good stories, versus creating a niche where I can look after myself as an actor.
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I think the educational value is what comes first. I've always thought that the most effective tools we have for disseminating information, i.e. education, is television and film.
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Then I became interested in drama, and almost by accident, I drifted into film.
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It's funny now how much we look at - whatever you want to call it: art, design, culture stuff, film - online, and how in the online world, you're instantly global.
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I've had a wonderful career and I'm very happy to have had all of the opportunities that I've had to tell stories and work for as long as I have. I'm sure there'll be a few more films but I'm happy that I'm able to be selective.
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The culture of independent film criticism has totally gone down the drain and this seems to come with the territory of the consumer age that we are now living in.
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Whatever I do, it's crucial to me that I give it 100 per cent. It doesn't matter if it's a short film, stage, theatre, TV or blockbuster. It doesn't matter what level of budget or prestige it is.
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When I emerged from drama school, I had no expectation that I would ever work in film.
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If I had my choice, I would do the same little independent films, but they would have $100 million budgets, so I could get paid a fortune and hang out in a huge trailer.
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Ive never seen a more terrifying film than 'The Bababook'. It will scare the hell out of you as it did me.
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I'm very troubled when editors oblige their film critics to read the novel before they see the film. Reading the book right before you see the film will almost certainly ruin the film for you.
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Is America a land of God where saints abide for ever? Where golden fields spread fair and broad, where flows the crystal river? Certainly not flush with saints, and a good thing, too, for the saints sent buzzing into man's ken now are but poor-mouthed ecclesiastical film stars and clich?-shouting publicity agents. Their little knowledge bringing them nearer to their ignorance, ignorance bringing them nearer to death, but nearness to death no nearer to God.
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The most frustrating part of working in TV and film is that you have to convince someone to let you make what you want; in comics you can do whatever you want and for 1% of the budget of TV and film.
