Film Quotes
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I dont think any actor has the luxury of knowing exactly what scripts are going to turn out well and what ones arent. It would be wonderful to have that particular skill, and maybe people like Tom Cruise have it more than most, but you go into each project hoping that a good, if not great, film will come out the other end.
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To make a film is eighteen months of your life. It's seven days a week. It's twenty hours a day.
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You know how it is, somebody will see your work and like it and remember it, then decide to make it a role in their film.
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One of the things that's different about London and the English market is that theater and film and television are all based in London. It's not quite the same as in the States where if the playwright here wants a successful TV or film career, they're whisked away by Hollywood.
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My oldest brother was a big influence on the films I watched as a kid.
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I was in love with this character of Ray Krebbs. I wanted the part badly. I had done several Western films in my career at that point and there wasn't much opportunity then to play Western roles on television at that time.
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Hardly any filmmakers can just make anything they want. Obviously, there are some exceptions, like Steven Spielberg, but he has that mainstream mentality and the kinds of films he loves to make are the kind that appeal to this big, mass audience.
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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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When I was shooting the film I did not see the story as an everyday tale or a social one. To a great extent, the film is a mythological look on human life. This is probably what I would like the audience to keep in mind before they enter the screening room.
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I've been friends with Jaco Pastorius's son since 1996 - Johnny Pastorius, the eldest son. And I remember when I first met him, I said, 'Some day, you've gotta make a film about your father,' because his influence is so broad.
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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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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 opportunity to shoot and get the depth out of the film - that I don't think you can get out of digital - is a huge deal for me.
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It's never easy getting an independent film made and distributed - even when it's easy.
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I think the clothes in Belle de Jour are very important to the style of the film. Even today, it is still timeless.
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In film, there are two ways of including human beings. One is depicting human beings. Another is to create a film form which, in itself, has all the qualities of being human: tenderness, observation, fear, relaxation, the sense of stepping into the world and pulling back, expansion, contraction, changing, softening, tenderness of heart. The first is a form of theater and the latter is a form of poetry.
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I couldn't imagine a better place Australia for making a film on the end of the world.
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I was shocked when I tried to articulate this to someone who had posted the film and asked them to remove it for a few months, and I actually told them that after that they could put it back up and they were just completely unwilling to compromise - you'd think I was Rupert Murdoch or something.
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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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It's never a script that makes me decide to accept a film or not.
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I've just had the opportunity to see the finished film of 'The Hunger Games.' I'm really happy with how it turned out. I feel like the book and the film are individual yet complementary pieces that enhance one another.
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The main problem is that the Hollywood system has already made the film before the director shoots a single frame.
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I don't believe in inspiration that arrives like a bolt from the blue ... It seems to me that the more motivated I am by what I film, the more objectively I film.
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I pretty much believe that a film is a film and when an audience watches a film, they finish it.
