Film Quotes
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I have a theory that most people disagree with. I really feel that acting for film and acting for the stage are two different crafts. I think that they share things in common. But I liken it to a painter switching over to photography.
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When I started out, there were three things that made film people look at me with condescension, I was young, I was black, and I was female. I have won a certain respect, but I think the film community still sees directing as a male job.
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I would be really excellent in a horror film because I have a great scream. I'd be really good in a comedy too. I'm top, top, top quality.
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It was always my intention to direct. I went to film school. And then I wanted to know how to work with actors, so I went to acting school. And then by the end of that, I caught the bug.
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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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Also, after Examined Life was finished I found myself thinking about the way creative opportunities and distribution channels were shifting. Should I be showing my films in theaters or just think about getting them out online? There were other issues, too.
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My aunt put my cousins into a childrens modelling agency, then my mum did it with us. Me and my sister got a few TV adverts, which was good pocket money. A director saw photos of me and asked me to do a short film.
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My very first acting gig was in a movie for Russ Parr. He did this movie called "Love for Sale," and that was my first role in any film.
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I think it's dynamite, the way my career has just kept moving, even when people didn't know it did. I made such interesting films, but, yeah, they're not necessarily the big movies that go to the supermarket. I don't need those movies, because I don't wanna do them.
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You can't be trying to make a film that pleases all people, you know, so it's not a concern of mine.
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From where I started to where I'm at right now I'm loaded in retrospect to the opportunities that I have. As far as money and the scheme of the world, I don't cash in. I do films because I'm sensitive and maybe stupid, and that I feel like I'm going to have fun on and feel like I'm going to have a good experience with. It's not about punching in and selling soap.
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At this moment, everyone is in crisis, not only in Italy but all over Europe. Only in America do they make films that are successful all over the world. In Europe, production is quite poor. We have three or four or five films, which is not enough.
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It was a black and white film at first. And then it changed to colour film, and I was surprised and culture shocked when I was six or seven years old. And then HD, then 3D now. So what's going? What's coming next? It's so exciting.
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I think the toughest thing about being an actor in a film is to be with a director who doesn't know what they want. And that can be really, really frustrating.
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When you act in a film, you're inevitably surrounded by people you didn't choose, right down to the set painter. I like being able to pick the family I'm waking up to in the morning that's going to make this group effort to tell a story that applies to what's interesting to me at that stage in my life.
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I believe, the Japanese film industry must be open.
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My oldest brother was a big influence on the films I watched as a kid.
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I knew from early on I would go to film school and try to work behind the camera.
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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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A man writing a letter is a man in the act of thinking, and it was an exercise Reagan obviously enjoyed. After his first meeting with Gorbachev, for example, he sent a 'Dear Murph' letter about it to his old friend George Murphy, a former senator and actor who had once played Reagan's father in a film.
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I don't think that theater is the higher medium, that it's better than film.
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I don't see me doing $100 million films because $100 million films, the very nature of them, you need to offend as few people as possible just to make your money back.
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From the very beginning, all of my films have divided the critics. Some have thought them wonderful, and others have found very little good to say. But subsequent critical opinion has always resulted in a very remarkable shift to the favorable. In one instance, the same critic who originally rapped the film has several years later put it on an all-time best list. But of course, the lasting and ultimately most important reputation of a film is not based on reviews, but on what, if anything, people say about it over the years, and on how much affection for it they have.
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I've always wanted to do a female buddy film, the kind the guys get to do.
