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I mean, journalism is very detailed... you try to get down in the weeds and sort out exactly what happened. And I don't think that a feature film is really a place where that happens.
For shows that are hyper-serialized, it just seems to make more sense to follow a feature film model than follow a television model, which was set up more for a procedural type of show.
I was very insecure approaching the idea of directing a feature film. I told myself I would not move until I felt I was moving in power rather than moving in desperation to make a movie.
I have always wanted to do a feature film that brings the world of Lisa Frank to life. We have so much backstory on our characters, and they have been alive in my imagination since the beginning.
Although there were only about 24 episodes made it seems to run forever. They take a couple of episodes and put them together, making a feature film once in a while. I had good fun making the series.
When we started Angels & Airwaves, we wanted to produce our art on different mediums, but the film was an ambitious one because we actually didn't go into it thinking we could make a big feature film.
All in all, I'd like to venture into film. Films are my staple diet, so I would love to be part of a feature film, independent film... it all just depends on the story and the people behind it, really.
I began my career creating art for an animated feature film, and it has been a life-long dream to tell some of the story of my own life - the story behind my art - through the medium of motion pictures.
What I did was I completed the half-hour film, but before really showing it, I wrote two more sections for a potential feature film which I didn't think would really happen, but at least I had it in case.
Every actor has to deal with what's on his plate, and I try to deal with doing the best work possible with the most challenging scripts. I don't base it on whether it's a feature film or a TV-movie or cable.
When I was going for my graduate degree, I decided I was going to make a feature film as my thesis. That's what I was famous for-that I had my thesis film be a feature film, which was 'You're a Big Boy Now.'
I learned that getting a movie made in Hollywood is a near impossibility, and the process can be a wild adventure. TV is a lot more consistently productive - no offense to the beautiful world of feature film.
I feel like something I've wanted to do for a really long time, in a feature film or anything, is playing a rocker. Somewhere where I can be on a stage and have a guitar or a microphone and just kind of jam out.
It's considered a coup to become a lead on a kind of cutting-edge television series. I mean, that's a plus for your feature film career and for your career in general. There are no walls anymore between the two.
Working on 'Westworld' has been an incredible experience in learning to make something with the scope of a feature on a TV timeline with a budget nowhere near what you would expect for a feature film equivalent.
I always believed in if you give your best, people will see it, and it moves to the next level. I got my first movie, and I gave it my best. Before I was done with that movie, I was offered my first feature film.
I'm interested in taking raw human emotions and then isolating them without any narrative structure. In order to achieve this, I try to break out of the narrative conventions that you'd see in a typical feature film.
We've always had a roadmap to feature filmmaking, and making a feature film could have been three or four years away for us. But crowdfunding helped us get there in a year, and it allowed us to take a much bigger step.
I think what's so great about making your first feature film is that you're so naive in some ways; you don't know what to expect, and you don't question things as much because you're just trying to figure it out as you go.
I think of all media, television is the most powerful when it comes to selling books, because when you have a feature film, yeah, there's a rush. But then after that month is over and the movie goes out of release, that's it.
Pixar's short films convinced Disney that if the company could produce memorable characters within five minutes, then the confidence was there in creating a feature film with those abilities in story and character development.
As a major feature film with Asian Americans in leading roles, 'Crazy Rich Asians' is important. We hope that this movie will be our 'Black Panther,' announcing to Hollywood that we are here, we belong, and we are ready for more.
It was interesting to write ad films and scripts for TV shows before I moved on to writing a feature film. That helped me grow as a writer, and I also found out how long I could sit in front of a computer and see something through.
The first feature film I did, when I did 'Night Shift,' I improvised quite a bit because I would improvise at the audition, so sometimes I would return to the original lines, and then when I was on set, I would improvise even more.
With a series, keeping the quality high and writing incredibly fast, that's the first lesson you learn. You can't be real precious. When you're doing a feature film, you have 2 1/2 months; you sort of take your time. It's a different animal.
I like doing them and they're ridiculous and the actors can improvise a lot, and they don't have to be really realistic characters that hit a very specific tone as in a feature film. They're really fun, I want to make more of them definitely.
One of the differences between HBO and other television is that they demand the same coverage that you would have in a feature film. We need to have all the shots in order to make it as rich and as stunning as it looks. We can't cut any corners.
I don't feel the obligation to have a big explosion in the first 20 seconds so the audience doesn't turn on another channel. We are trying to make something that looks like a feature film that was bought for television and I think we are succeeding.
I wanted to make Jerusalem as feature film. But we couldn't finance it only through theatrical release, we couldn't get all the money we needed. We had to get some money from television. So we said, ok, let's do it both ways. So we did it in four parts.
The documentary feature film 'Legion of Brothers' tells the stories of the handful of U.S. Special Forces soldiers who, shortly after the 9/11 attacks, went into Taliban-controlled Afghanistan and, within a matter of weeks, overthrew the Taliban regime.
Even before 'Moon,' I did a short film called 'Whistle,' and it had a lot of the things that I thought I would need to be able to do on a feature film: I shot on location, there was special FX work, there was stunt work, we used squibs, I shot on 35 mm film.
Lord of the Rings was something I always wanted to do. I read the book when I was about 25, and I was always hoping if it was ever made into a feature film that I would be involved in some way. And then I finally got it, and I was over the moon. It was fantastic news.
I'm probably going to go more the feature film route for a while, just so I have more time on my hands. If I did go back to television, I'd do a comedy, a half hour. Or I'd go back on an hour long if it was ensemble, if I had a smaller role, if I could work less days.
I was on 'The O.C.' and had a small part, which wasn't very challenging. I was a bit bored, so I started shadowing directors and they finally gave me a shot. From there, it led to directing other television shows. I am trying to direct a feature film, so we'll see what happens.
If forced to choose my favourite film, I would have to say 'Raging Bull' because it was the first feature film I worked on, and it was like having pure gold in my hands. But my husband's film 'The Life and Death of Colonel Blimp' is equally a favourite because of its enormous emotional power.
I was writing short films and I was going through this really, really, really terrible end of a relationship that I didn't want to be going through. It was too much for me to process and all of a sudden I had this idea for my first feature film and I knew right away I had to start writing it.
Directly after Rock Hudson's death came the fears that gay writers and actors and directors would be denied jobs; who knew if they would live long enough to finish a feature film or television series? And would the unions force directors to give blood tests and ban actors who tested positive?
If you do too much acting in a lead part in a feature film where you're 40 ft. high, it's rather unattractive. You can see the acting. And it's actually the right thing to do to bring as much of yourself, I believe, to the part as you possibly can - to minimize the amount of theatrical stuff that you need to do.
I would love to be nominated for an award at some point or do something that at least engenders the type of cultural conversation that a role like Giancarlo Esposito on 'Breaking Bad,' or actually any of the people on 'Breaking Bad.' I would love to have a role in a feature film that was a cultural talking point.
When you're writing for a game - even if you're using very well known characters like Batman and his villains who lend themselves to many different interpretations - you have to keep in mind that you're writing for a different medium. Things are a bit more straightforward than it is for a feature film or a TV show.
It's called 'Fight Valley,' and it's my first feature film. I just dove in and did the best I could. I don't think I'm gonna win any Academy Awards on this one. I had fun with it and hopefully will get more opportunities like that. It's about two sisters, one poor and one rich, and one goes into underground fighting.
Everything we do on 'Luck' is absolutely no different than if we'd had been doing it in a feature film. There's no short cuts. The specificity of what every single line might mean. Everything Dustin Hoffman does. Kevin Dunn is as authentic in the last scene of the last episode as he is in the first scene of the first episode.
I did three of the original 'Twilight Zone' episodes, yes. Also, I did a little thing in the feature film, and then I wrote one of the episodes in 'The Twilight Zone's last round where I starred with Cloris Leachman and my daughter Liliana in a true sequel to 'It's a Good Life.' So, yes, I have a good 'Twilight Zone' alumni jacket.
My hat's off to documentary filmmakers. I don't know if I'm ever going back to it. You're treated like a second-class citizen at most film festivals. You take the bus while everybody else is flown first-class. If you're a feature film director, you're put in a five-star hotel, and if you're a documentary director, you stay in a Motel 6.
I got my big movie break thanks to an emergency in a five star hotel bathroom. I was attending a film party, wearing a kurta pajama. At the washroom, I could not open the pajama knot and was screaming for help. Pahlaj Nihalani was there and he helped me out. And before I knew it, I was in front of the camera for my first feature film, 'Aag Hi Aag!'