Film Quotes
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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've had the pleasure of working in the U.K. a few times before. I've shot a few movies there before. One of them was Neil Simon's 'London Suite,' which was based on his play. I also shot a film in Dublin, a little film with Bernadette Peters, called 'Bobbie's Girl.'
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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 like doing film, you know, single-camera.
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When you act, you want to emote and think in that language. I don't enjoy the process of doing a film in a language I am not good with.
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Being on a weekly series, you see these people so much, and you have these genuine interactions with them where if you're away doing a film, it's a little different because there's - these definite end dates to everything.
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Here are the good things about independent films: They do the more interesting, chancy scripts. They're run by love.
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In college, when a girlfriend asks you to watch a film in black and white, you do it. That's when I discovered a lot of films. I was really obsessed with Bergman, the whole world he creates. One that I always quote a lot is 'Autumn Sonata.' When you see women go through issues with their mom, you realize how right and poignant Bergman was.
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I think your behavior is different when you work on digital or film. It seems that... I feel most focused if I'm working on film.
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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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I think some people feel that if you are going to have 3D, then you have to shoot in 3D, but they shoot 3D, so of course they're going to say 'my way of doing a film is better.' I'm not telling anyone how they should do their film, so why should anyone tell me how I should do mine?
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Some things definitely work better on film than in books. Introspection is great in books but it doesn't work on film. Anything with high intensity, whether it's a love scene, a car chase, a fight scene - those things work so well on film and oftentimes they can tell a much broader part of the story.
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Kathryn Bigelow is a really good example of somebody that has maintained her truth and she makes the films she wants to make and she hasn't let other people affect her too much. Her last film is to me so inspiring and the way she sees war, the way she set up those really intimate relationships in and amongst this carnage.
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I was very happy to learn Oliver Stone had decided to make a film about Edward Snowden and believe this is a powerful and inspiring film.
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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 believe every time you film anybody, you create reality with that person - whether it's fiction or nonfiction.
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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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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 am the least likely person in the world to be in an American football film! Which is why I couldn't say no to The Replacements; I thought it was hilarious.
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Mumbai is a spider web. You do a film and make 10 connections and do something else and make 10 more connections. You keep moving like that.
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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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Playing the lead in a film where you shoot for three months away from home is not an easy thing for me when my children are in school and my husband is running a theatre company.
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At the heart of any successful film is a powerful story. And a story should be just that: a narrative with a beginning, middle, and end, powerful protagonists that audiences can identify with, and a dramatic arc that is able to capture and hold viewers' intellectual and emotional attention.
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I'm always in this shape, that shape, whatever shape you like the most. I am always in various stages of shapes. If the woman needs to be more soft I'll gain weight and then I'll lose weight for another film that I did where I wanted her to be more wiry. I enjoy using my body as something that helps me get to a character.
