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As for Kate Bosworth, I've always admired her. I watched her in a movie called 'Girl in the Park,' which has never been released - not even on DVD. I had a copy, and it was bravura acting I had not seen from her.
Catholicism is so steeped in imagery. It's one of the many reasons Catholicism has given birth to so many great filmmakers compared to the Protestant tradition - even in America, where we're primarily Protestant.
The Head of Story is defined differently for each film. But I found that the role for me was to support the director's vision, and to be a conduit to the story team - and managing that team to realize the vision.
I often found that my favorite scene that I shoot is often one that I cut out, like in 'The Last Castle' and 'The Contender.' If you look at the deleted scenes, some of the best scenes never made it into the film.
I think it's difficult to be a Christian anywhere, at least to be a committed Christian - I think that demands a lot from a person no matter their field of work, and certainly working in Hollywood is no exception.
In my horror movies, I was always trying to deal with real characters and real character drama played by good actors... Laura Linney, Ethan Hawke, Eric Bana, and Tom Wilkinson, people who don't do horror normally.
Your great country is wonderful at stealing pieces of history and using it for its own purposes, so there didn't seem to be anything particularly unusual about it but the English were incredibly exercised about it.
I think filmmaking is a strange animal because it's anti-Democratic and collective at the same time, but I think it's all about not trying to know everything better than everybody else but making the right choices.
In my opinion, the horror genre is a perfect genre for Christians to be involved with. I think the more compelling question is, Why do so many Christians find it odd that a Christian would be working in this genre?
I think, as you're growing up, your emotions are just as deep as they are when you're an adult. You're ability to feel lonely, longing, confused or angry are just as deep. We don't feel things more as we get older.
I knew I could write infinitely about relationships. That's the most beautiful, most confusing, most rewarding, most heartbreaking thing in our lives - and not just romantic relationships: that's all relationships.
That your own interpretation of a work of art is flagrantly subjective seems to be regarded as an arrogant attitude. But the truer view is that the interpretative artist can only make his own comment upon the work.
The whole idea of genre and categorising films is a critic's construct. For me, I just try and make stories and see where they go, but there's nothing wrong with horror; there's nothing wrong with romantic comedies.
At the assassination of Caesar when Cassius says, "How many ages hence shall this our lofty scene be acted over in states unborn and accents yet unknown!" And you kind of went, "Never was there a truer word spoken."
The first time I ever intersected with the quote unquote industry or Hollywood or being given a paid job as a director all came because of the reputation I got coming out of Sundance as a veteran Sundance filmmaker.
People don't go to see things in the theater for the same reasons that I do. And movies are about mass audiences. And so moviegoers are going for a different kind of drug than for a certain kind of literary quality.
If you look at the greatest performances of women, they're usually older... Anne Bancroft in 'The Graduate,' Kathy Bates in 'Misery.' It's a matter of characters having a life experience that makes them interesting.
I would be concerned if one of my children were constantly watching nothing but horror films or indulging in gothic literature without the balance of other types of art and entertainment. I do think that's a danger.
Some of the most intelligent people I've met in my life are priests and pastors; now, a lot of them aren't that, though. Some of the most sanctimonious and hypocritical people I've met are priests and pastors, also.
You really have to be careful with the clues you lay into the film - if they're too heavy-handed, or you've pandered to a slightly stupider audience, then you've spoiled it for the people who are even slightly smart.
Americans in particular are myopic. They're not traveling as much. When you were a college student, the next thing you would do on graduation was to take a year off and travel. That's what I did. I went to Indonesia.
So many people have said this, but it's true: 95 percent of what I do as a director is casting and getting people who can bear the load of what you're asking them to do and creating this emotionally safe environment.
Success brings with it pressure to conform. I always thought that success would lead to freedom, but the opposite is true: more people get involved, and committees make decisions, and it becomes a fight to stay free.
I think the single most important, fascinating, and complex aspect of human nature is that we all know, deep down, that we are not what we ought to be - or as John Doe says in 'Seven,' 'We are not what was intended.'
Sam Peckinpah's movies probably say more about him than anybody's body of work says about that person. There are running themes in his films that I find eminently fascinating, disturbing, exhausting, and exhilarating.
I think that the secular work environment in general is a place that's challenging for Christians to thrive in without getting caught up in materialism or in competitiveness or in things that are really not important.
We tell myths over and over again, lest we forget who we are, lest we not understand that these tales take us through the darkness of our lives, and they put us into a place where you understand what it is to be human.
I am a competitive person, but it's so hard to do a show. Anybody who gets to the point where they get their show on the air, I wish them the best. It's too hard. I'd rather waste energy thinking good things on myself.
I just think there are certain men who feel like engaging in a story told from a female point of view is somehow a feminizing experience. And that itself is something that they're almost supposed to not want to engage.
It's impossible for me, without getting a big wide shot of Manhattan, to convince people that it's another day. But if we go to a commercial and we come up and people are in different clothes, you know it's another day.
I'm interested in taking things from my relationship that I don't see on screen - or that I feel like that could be useful or helpful if it were out in the open - and trying to put that in the movies as much as possible.
Learning is about much more than science and math. Doing theater, music, and art in school really helps children's minds grow because they're using different parts of their brains. Parents who care should insist on that.
He wasn't, but producers are by definition annoying because they have a different agenda from you. They're trying to stop you spending money and you're trying to not spend money, but at the same time we're great artists.
Hollywood is enamored of the 20- to 30-year-old actress, but by the very nature of the life experience of the character, the roles cannot be that rich. You can only have Angelina Jolie in a mental hospital so many times.
I grew up reading comics - mostly Marvel - Doctor Strange was my favourite comic book and has remained my favourite as an adult. It's the only comic book movie property I've ever gone after. I felt uniquely suited to it.
I think there is something about... unless you come from a really evolved family that allowed you to talk about your feelings and felt like a safe environment, then you aren't really prepared to do that when you grow up.
I've been filming time lapse flowers continuously, 24 hours a day, 7 days a week, for 35 years. To watch them move is a dance I will never get tired of. Their sensual beauty immerses us with color, smell, taste and touch.
What I love is when I'm in the theater with audiences and I hear them laugh. That's such a relief to me. They're going on the ride and they're allowing themselves to enjoy it, even though we're traversing some dark waters.
I skated and rode bikes on ramps, and my mom was always super supportive. She was one of the only divorced moms in the neighborhood, so all the other parents looked down upon her for letting her kids do that kind of thing.
The great fun of doing new plays is that people have no idea what's going to happen next. That goes quite soon, as people start talking about it, and the only way you can keep hold of that is genuinely to keep changing it.
I want to try and be as involved in the art of filmmaking as possible. I feel that the only way to really do that is to take on as many roles as possible, whether it be as an actor, an editor, a director, a cinematographer.
We have often been attracted to the story of the other, the outcast. And he and I just loved working together, so it just kept happening, and our relationship is completely bound up with our work. We enjoy each other's art.
I'm not really a director for hire. You read these scripts and go, 'This is a really great script, but Paul Greengrass would make this so much better than me.' I usually say, 'I know who would be good for this. It's not me.
Economic localization is the key to sustaining biological and cultural diversity - to sustaining life itself. The sooner we shift towards the local, the sooner we will begin healing our planet, our communities and ourselves.
I'm not really a director for hire. You read these scripts and go, 'This is a really great script, but Paul Greengrass would make this so much better than me.' I usually say, 'I know who would be good for this. It's not me.'
When you're making a movie, you have those days that you really look forward to, and it's a little bit like Murphy's law. The days you look forward to become your hell days. The days you're dreading become these amazing days.
I have seen productions of Julius Caesar that set it in a modern, Western context and it just looks as though they're getting rid of a particularly cantankerous chairman of the board rather than the great leader of the world.
We're all capable of being more than we presently are, and the effort that it takes and the will that it takes and sometimes the trauma and tragedy that it takes to force us into that kind of growth is the story of our lives.
If you compromise what you're trying to do just a little bit, you'll end up compromising a little more the next day or the next week, and when you lift your head you're suddenly really far away from where you're trying to go.
With journalism, films always have to be to do with some personal statement of your own. As a general rule, I resist that. In the States, a question that kept coming up was this: how can you, as a man, talk about three women?