Film Quotes
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I want to be involved in things I can be really proud of. There's a lot of bad films being made and I don't understand how they got the money for it. That said, there's a lot of bad telly, but there's also a lot of very high quality that is something I'd be much more proud of than a mediocre film.
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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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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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My wife comes with me on all the movies, but she is not an appendage to a film star or anything like that. She is a completely intertwined partner. She is the other half of me. Also, we're still very much in love with each other. We always have been, we always will be.
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I don't remember who wins awards [Oscars]. I've won a few but what I really remember are movies. I love films, so I'm not concerned about speculation about winning things because I really enjoy being in films that last longer than an opening weekend. That's my goal in life.
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I saw 'Clueless' probably when I was about 8 or 9 years old. And, I had certain films that I would fall asleep so it was 'Clueless' for quite a long time, and I used to just watch it every single night and knew every single line, every single quote.
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I've only ever gone into studio films with people I really like.
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I know the pleasure you get from making your films. The intense involvement in every aspect: the acting, the camera, the colors, the costumes, even the hair and makeup. Editing is thrilling. Everything to do with films is absorbing - everything but the money part, the business. But I'm deeply glad I've had that experience.
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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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But actually I make films that I think are extremely sophisticated and cinematic.
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That's what's nice about directing a film and having it done: There's nothing more I can do about it. It's done. That's it. All I can do is let it go and hope that people are kind to it.
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You can have a film and have 200 white people working on it, and nobody finds anything wrong with that. But if you insist on having a black crew, all of a sudden there's something wrong.
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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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I make films because I am endlessly fascinated by people. I'm fascinated immediately to know about the lives that are going on around me. That is what drives me. And that is because everybody matters, everybody is there to be cared about, everybody is interesting and everybody is the potential central character in a story. Judging people is not acceptable.
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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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So that, to me, is important that audiences are treated with an amount of respect toward their intelligence. Most Hollywood films don't respect their intelligence.
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The thing I was up against in documentary films - was trying to get non-actors to convincingly play themselves in a way I'd come to know before the camera started rolling. And many non-actors can't do that convincingly, even if they just have to play themselves - they can't be naturalistic. And I would always want to recreate something I'd witnessed them do or say, and it just would be incredibly difficult because of the fact they weren't actors.
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I like films where there's a relationship between two women. I always think that's lovely to watch on the screen.
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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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All the lessons learned, unlearned; The young, who learned to read, now blind, Their eyes with an archaic film; The peasant relapses to a stumbling tune, Following the donkey's bray; These only remember to forget. But somewhere some word presses, On the high door of a skull and in some corner, Of an irrefrangible eye, Some old man memory jumps to a child - Spark from the days of energy. And the child hoards it like a bitter toy.
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I've always wanted to do a female buddy film, the kind the guys get to do.
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I've been doing theater for a long time, so that's something I understand. I'm such a babe in the woods when it comes to TV and film. I'm still learning. It's exciting.
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I felt, if I'm going to take on some of the most overdone material, which is men and women and affairs and betrayal of friends, I had better have a new take on it. I think my films come from a desperation not to be boring.
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What people don't understand about making a film is sometimes your experience on the film shapes who you are. You're gone to another country for five months, maybe more, there's training leading up to it... It's a whole life experience that people don't see because they just see the final product wrapped up in a couple hours. You don't see everything that happens around it. I think it's hard to say one movie or one thing; I think they all shape who you are.
