Film Quotes
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For me, my taste isn't limited to magical films. Whatever I read and I like, I go up for, and a lot of the time it's an American accent which can be quite trying, but I'm working on it as much as I can.
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Film is like tech starts on the first day of filming and it never stops. There's never a moment when the audience comes in, you're just in tech forever, and I can't stand being on a film set. It's really tedious.
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People call me a theater actor, but I'm just an actor. But I tell my friends all the time - especially a lot that do theater and haven't done a lot of TV/film - that you have so much more control over your work onstage. When you go onstage, you can really see the difference between people who can really do it, and people who are just kind of pretending to do it. There is no editor, there's nothing that's going to stop the actor from showing what they can do unless it's not a well-written role.
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I'm working on a project called Lemons, produced by Killer Films. The director has a great perspective on character development.
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People never explain to you exactly what they think and feel and how their thoughts and feelings work, do they? They don't have time. Or the right words. But that's what books do. It's as though your daily life is a film in the cinema. It can be fun, looking at those pictures. But if you want to know what lies behind the flat screen you have to read a book. That explains it all.
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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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Every screenwriter worthy of the name has already directed his film when he has written his script.
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The problem with the British film industry is the nervousness and insecurity about - and genuflection toward - Los Angeles.
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I did a film many years ago called The Man Without A Face.Gaby [Hoffmann] was in with Mel Gibson. That was his directing debut. He did a great job.
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This film [Teknolust] in particular, showing the way in which having a sexual dialogue with someone can be something developing and changeable and maybe uncomfortable and complicated. Just complicated and human, no more and no less.
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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'm terrible at making titles. I never like the titles of my films.
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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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I think that one of the most exciting things about making films is the sort of reaching out to the world. It's as an ambassador. You realize the more you travel that you are a cultural ambassador for your own country. You never become more patriotic than you do living abroad.
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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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You just have to have the right gear and a few people to put you in motion with a good aesthetic and the film will take care of itself.
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The audience I'm targeting doesn't care about the language spoken in the films they watch. They're interested in more important things like story, performance, cinematography etc.
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The single difference between films for children and films for adults is that in films for children, there is always the option to start again, to create a new beginning. In films for adults, there are no ways to change things. What happened, happened.
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I would love to do a film in Africa.
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It's in the public domain. That's one of the reasons I do it so much. But luckily, it's a brilliant film [Night Of The Living Dead]. Every horror aficionado must see that film at least once.
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There are two kinds of directors: There's the kind where two plus two equals four, and you have to help them figure it out. And then there's the kind that throws you in a room, locks the door, sets the house on fire and films it.
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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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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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I think 3D is a great innovation for the film business. But I hope it's not the thing that kills the golden egg because what's happening now is every movie there's pressure from the studio to turn it into a 3D movie.
