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Tim also has enough confidence so that it always looks like a Tim Burton film, but it really is collaborative. You're allowed to do it your way but of course he's always going to choose his way.
I'm not sure if it's fair to call it a "fairy tale," but I really loved Mulan, the Disney film. It was my favorite. I guess it's not really a fairy tale, but you do get Eddie Murphy as a dragon.
'Ashes of Time' was my third film, and as a young director at that point, it's not very often that you have the chance to make a big martial arts film, so of course I jumped at this opportunity.
In the end of the film there is hope, ... There's beauty in ugliness. It's really important for us Latinos to acknowledge each other and not deny the reality, because our reality is fascinating.
'Moonlight' isn't an issue film. It's not about addiction, it's not about sexuality, it's not about identity. It's about all these different layers, because they are all a part of the character.
Well that's the point: People don't normally take away things from films anymore. You go and see a $100 million film, half an hour later, your biggest concern is what are you going to be eating.
After 'Aashiqui 2,' I have been receiving congratulatory calls and messages from people, and they are showering me with praises. I am happy that the film connected with the hearts of the masses.
I would rather not watch myself in movies. I enjoy the experience, but I won't really see the film until they're on cable deep on into my life so I can pretend it's someone else at another time.
Luck is everything... My good luck in life was to be a really frightened person. I'm fortunate to be a coward, to have a low threshold of fear, because a hero couldn't make a good suspense film.
One thing that I think works in 'Casablanca' and which I've lectured a lot about - in terms of what I've been trying to achieve as a designer - is the film's creation of its own form of reality.
Writers do the self-censoring before they even get to the studio executive, because they know the film will not run that gauntlet. They, because they want to get their films made, they censor it.
I gradually work myself into a frenzy as the shoot approaches, while we're choosing the costumes or working with the make-up artist. I'm not so much interested in my character as the film itself.
When you listen to the music, you can also see the film or read the article, and it's all part of the same journey that you get to take with the artist you're interested in. It's a balancing act.
Actors are hard to photograph because they never want to reveal who they are. You don't know if you're getting a character from a Chekhov play or a Polanski film. It depends what mood they're in.
If I'm able to catch the screening, there's a point in the film where, like clockwork, a portion of the audience gets really emotional and begins to cry. And that's very difficult to make happen.
I am still very surprised that I managed to make that film [Close Up]. When I actually look back on that film, I really feel that I was not the director but instead just a member of the audience.
To me some of the funniest movies would be probably categorized in the dramatic genre, and likewise some of the most dramatic films, or films that have the most dramatic moments, are in comedies.
It's so easy to manipulate an audience, but it's nearly always clear that you are being manipulated. I think even people that are not critically attuned are aware of cynical manipulation in film.
It is that rare film [Moonlight] that comes along once in a while that catches the zeitgeist. This movie is that. I certainly have my fingers crossed that it is. Everyone needs to see this movie.
Both men and women are really vast and boundless and yet in many films we’re told that they’re not. We’re told they can only be one thing - like handsome and charming and that’s it. Nothing more.
I had never met Woody Allen before Melinda and Melinda. My agent knew the producer of the movie and he suggested that we would work well together and then we did. We had a great time on that film.
I'm not sure if it's fair to call it a 'fairy tale,' but I really loved 'Mulan,' the Disney film. It was my favorite. I guess it's not really a fairy tale, but you do get Eddie Murphy as a dragon.
I am happy that I am back and with a great project like 'Vicky Donor.' I have had a hard time in the past with 'Johnny Mastana' getting stuck but I hope this film brings positiveness into my life.
My routine is similar to that of a nomad. But I crave for the comforts enjoyed by a normal girl. In fact, while shooting for my debut film, 'Sanam Teri Kasam,' I turned my vanity van into my room.
A long and productive career in the world of films is bound to be checkered with success and failures. You cannot have one without the other; the only way not to make a flop is not to make a film.
Sometimes I make films about scenes other filmmakers would leave out, so I just make the film out of all the things they wouldn't put in. Poetry allows you to do this more than prose, for example.
I'm very free with my sexuality, but not everywhere all the time. I pick and choose when I do nudity, and who I do it for when I'm working, and when I'm doing it. I've done nudity twice in a film.
When you imagine the Koch brothers, it's hard not to think of the 1983 film 'Trading Places,' which featured as its villains a pair of brothers, commodity brokers named Randolph and Mortimer Duke.
I think there's a lot of elements that go into making a really awesome horror film and that's like putting together like a real good group of people that you love to watch them either live or die.
I still feel that a movie has to attempt to say something - even if it fails miserably. But I've sort of given up on believing that I'm going to change the world with every film I choose to act in.
Film is such a bizarre vehicle for acting. It's such a bizarre experience. I don't think you ever really get familiar with it. If you do get familiar with it, you're probably not that good anymore.
We're all waiting for the opportunity to do big films but you have to wait your turn - unless you get offered something like Twilight when you're 20! Otherwise, you just have to keep slogging away.
Well it's always been an element of the horror film to show us the gross out. I mean that's one option for all filmmakers making a horror film and it's not something I've found myself above either.
For me, the distinction between documentaries and feature films is not so clear - my "documentaries" were largely scripted, rehearsed, and repeated, and have a lot of fantasy and concoction in them.
Ultimately, you just have to do what feels right for the film. It really helps when you have great collaborators like my editor, Eduardo Serrano, who kept telling me various scenes should be longer.
In 'Mr Shrimati,' I had a long role as a woman. A cabaret number was also picturised on me. I really worked hard in that film and feel that to date, no man has matched my level when playing a woman.
The thing about film is it is a very precise form. You know if you have it and you know if you don't have it. There's not really a middle bit where you're like, "I think we kind of have that scene."
Frankly, I think I'm marvelous in rehearsal! Then you turn the camera on, and it gets stiff and tight. And then you trudge back to your trailer feeling sad. That's been my experience of film acting.
I made my first film on 16mm. Then I began using 35mm.Then I began working in Hollywood. And I began to really understand how films were made by professionals. I have to say I wasn't very impressed.
I mean, certainly it's the single biggest event, I think, in terms of popular entertainment, or art even, if you say that, of the 20th Century. It's been film. It's the 20th Century's real art form.
I feel like a lot of my work on stage, I've gotten to play a wider range of characters than I have on film. This feels closer to who I am than stuff I've played on stage, or, like, Olive Kitteridge.
I actually got a part in 'The Love Guru', that Mike Myers film. I heard it's awful. I got a Razzie award for it, which I'm quite proud of, but I still haven't seen it. I have no plans to branch out.
To convey in the print the feeling you experienced when you exposed your film – to walk out of the darkroom and say: ‘This is it, the equivalent of what I saw and felt!’. That’s what it’s all about.
What really shocks me, what I can honestly sit back and ponder for hours in a lot of cases is just, 'Why would you film yourself doing that? Who put you up to that? What are you getting out of that?
I try, in my films, to normalize things that maybe 20 or 30 years ago a film would have been about. 'Guess Who's Coming to Dinner' needed its own film, but now blended families you see all the time.
Between the ages of 18 and 20, I made three hour-long films. One was a superhero film called 'Carbolic Soap.' One was a cop film called 'Dead Right.' And the other was called 'A Fistful Of Fingers.'
I don't necessarily agree with everything I read about my films, but I wouldn't highlight a specific misconception: If people think this or that about myself or my work, they must have their reasons.
It's not an easy place to be - to write a horror film. You go down the stairs to the dark to find these characters. It's not a place anyone can go, and sometimes it's not a place that you want to go.
'Bad Taste' was - it was, in many respects, my sort of, my, I guess, my single-minded desire to want to break into the film industry when New Zealand didn't really have a film industry to break into.
In the beginning, it wasn't even a question of deciding I'm going to do independent film and not commercial films - I wasn't being offered any commercial films, and there wasn't an independent scene.