Film Quotes
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If I like a film, I usually appreciate the way it was made the first time.
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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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It's never a script that makes me decide to accept a film or not.
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Escaping into a film is not like escaping into a book. Books force you to give something back to them, to exercise your intelligence and imagination, where as you can watch a film-and even enjoy it-in a state of mindless passivity.
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The film is a romance with songs and dances, aimed at a family audience.
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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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When you're editing the film, you use a temp track. So you're putting music in there for a rough cut to keep track of what's going on. It can be a hindrance if wrong, it can be an enormous asset if you get it right.
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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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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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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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I saw a lot of 47 Ronin on the TV, in the films, and I've done Chushingura Gaiden Yotsuya Kaidan Crest of Betrayal, 1994 directed by Kinji Fukasaku.
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Would I do it again? Film another movie? Oh yeah.
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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'm happy - at times - making films. I'm certainly unhappy not making films.
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For each film, you try to create a whole world sonically, having a sense of identity through instruments used, or recording techniques.
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As far as I have been able to understand, the Japanese seem to keep things close to the vest. Friendly but remote and polite to the point of being invisible. It is in the music, literature, film and art that the Japanese really seem to express themselves.
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Then I became interested in drama, and almost by accident, I drifted into film.
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Also, if you watch the film once, there are lots of things that you won't get because there are punch lines in the first act, the setup to which isn't until the second act.
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I figured I’d probably write 50 scripts in my life. Out of those 50, I figured maybe five would be produced, and that maybe one or two would be successful. So I always kind of expected I’d write at least one successful film in my life. ... The way it all came together was kind of like Murphy's law in reverse—I don’t expect that kind of experience again any time soon.
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To me, 'Educating Rita' is the most perfect performance I could give of a character who was as far away from me as you could possibly get and of all the films I have ever been in, I think it may be the one I am most proud of.
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The book and the film This Changes Everything fed into each other in ways that were compounding and very exciting. The pain was shared.
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I'd love to find a small movie that someone would sign off on me to do. I have no aspirations to do a big studio film because I don't think anyone would let me.
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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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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.
