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I got a horror film, 'The Burning,' and suddenly I was making crazy money, like a thousand a week, so I moved into an apartment on Amsterdam with a guy who was also in 'The Burning,' Jason Alexander.
I’ve been lucky, so lucky, working with [...] Rachel (McAdams) on The Notebook. A big draw for me, when I do a film, is who am I going to be opposite, because there’s only so much I can do on my own.
I saw all of the films [based on The Tempest] available, including the one with Helen Mirren in which Prospero is Prospera - you wonder, "Would it work?" But it does, because anything she does works.
I'm pretty fortunate that I'm in the films I'm in largely because the directors have asked me to be in them. I'd love to do more of them, but the writing and historical stuff I'll probably always do.
Toy Story 1, 2, and 3, to us, are some of the greatest films ever made, and each is better than the one before it. But if you go to Toy Story 6, they all end up decomposing in a trash heap somewhere.
At that time, the people that were in the animated film business were mostly guys who were unsuccessful newspaper cartoonists. In other words, their ability to draw living things was practically nil.
The feature film business, the studio film business, feels to me like there's just nowhere else to go. It's like a record that's just skipping at the end, with the needle stuck in the run-out groove.
When I'm making an American film, it's more safe because there are so many people on the set to watch me. Whatever I do, they say, 'What are you doing!? Tell me first!' There are so many restrictions.
I started my career wanting to make a 'James Bond' movie, and I couldn't get hired! I made 'The Bourne Identity,' and ultimately the impact of that film was that it changed the 'James Bond' franchise.
Movies are a director's medium, and they end up getting less credit than actors. They get the flak if the movie doesn't do well, and the actor walks away with most of the credit if the film does well.
'Stomp the Yard' was a great film. It was a great film, great opportunity. It's the reason I live in Atlanta to this day, that film. But as far as acting goes, it wasn't very challenging. I played me.
Every good film is a bit like a dream, when you come away from it. That's what you should aspire to, rather than some social document. I want to create a little world that will stay with the audience.
Still, the film nearly didn't happen a number of times. There were great arguments with United Artists about how to reduce the cost because they were nothing if not conscious of the price of the film.
My home in Hollywood is not a home. I do a film here, a film there, as they want it. I don't have a relationship. Like, Warner Bros. has a great relationship with Clint Eastwood and takes care of him.
When 'The Lighthouse,' bizarrely, became the film that people wanted to greenlight, it was really clear that those were the only two people to play the roles. And I knew that they would want to do it.
It's a terrible thing to make films that are never seen or experienced by audiences. Often times nobody knows about them, even though they are great films. They are not promoted and that's really sad.
I was lucky enough to be the lady that was asked to be Maria in the Sound Of Music, and that film was fortunate enough to be huge hit. The same with Mary Poppins. I got terribly lucky in that respect.
If something can be explored or illuminated that would have been difficult to verbalize, that to me is what a film should be. It's like trying to explain what a piece of music is like. You can't do it.
Any adaptation - and I've done three in my career. I did 'Sweeney Todd' and 'Hugo' and 'Coriolanus.' It's important to find what makes it a movie as opposed to just a film presentation of a stage play.
Fahrenheit 9/11 took public domain information that should have been on the news every night and put it in a film that a lot of people went to see. But still Bush has never had to answer those charges.
Failure worries me; nobody wants to fail. There is a fear that one day, films will not come my way, or if someone doesn't watch your film, that is a worrying point. It is unpredictable in the industry.
As I got into the animation, as I learned more about the business, I learned that you need a lot of people to do anything animated - even a short, let alone a feature film. And you need a lot of money.
Those are the films I want to make. I don't want to make a film about, "Oh, those poor prostitutes!" Or "Oh, isn't it terrible in Chicago!" I want to make a film where people think, "Brenda's like me!"
There's something magical still about it when I get in a darkroom, and you've shot a roll of film and you develop it and you look at your negatives, and there's like imagery there. That always stuns me.
I'm not accustomed to doing films without seeing the script. There are certain people that are auteurs, and you accept them regardless of whether you see a script or not. But Spielberg is not an auteur.
I have watched people who have nothing to do with the film business, but who have become part of the circle for a short period of time. They can be truly devastated when the film wraps and people leave.
For me, my taste isn't limited to magical films. Whatever I read and I like, I go up for, and a lot of the time it's an American accent which can be quite trying, but I'm working on it as much as I can.
Our plan for Passyunk Productions is to make an impact in the film & tv world by leveraging our collective resources, telling great stories and creating smart programming told from a unique perspective.
And Twin Peaks, the Film is the craziest film in the history of cinema. I have no idea what happened, I have no idea what I saw, all I know is that I left the theater floating six feet above the ground.
I do films to be behind the camera, not in front of the camera. I'm sure I say very intimate things about myself in all my films, but it's better to say it not too directly, to be hidden behind a woman.
I think I've always been kept grounded. I've never been too involved with the movie business apart from just doing the film. I've never moved out to LA like a lot of people or been too drawn in by that.
In the case of a film like The Exorcist or To Live and Die in L.A., I saw the whole movie in my head before I went to shoot it. I never did storyboards, or anything like that. I had the film in my head.
I had experience with PTSD myself; probably that's why I felt so close to the soldiers and the testimony. Also, because I had experienced this myself, I wanted to make a really physical and carnal film.
I've got quite a big gay following. I played a lesbian prostitute in the TV series 'Band Of Gold' but I think my following really grew when I played one in the film 'Imagine Me & You,' with Piper Perabo.
It was just crazy opportunity to see that whole world and the competitions that we had in the film, like Long Beach, it was just crazy and so much fun. I felt like I lived all those moments in the movie.
We used to flock to watch gladiators, public torture and executions. In more recent times, our appetite for mortal violence has been sublimated in sports, photorealistic video games, film and literature.
It's obviously a lot more of a political undertaking making a movie in Hollywood and it's a business there. In Australia, they don't expect films to make money; whereas in America they're counting on it.
In any movie, there are a number of scenes that get cut in an effort to keep the film from running too long. Some are of little consequence, but others are important scenes that are very painful to lose.
My character in 'Batman v Superman' isn't supposed to be Japanese, but director Zack Snyder said he'd seen me in 'Wolverine' and had to get me in the film somehow. Hearing that was like music to my ears.
Godard is incredibly brilliant, the things he says. Apparently here in France, the most interesting thing when a new film of his is going to come out are his press conferences, because he's so brilliant.
I was always doing films, but the ceramics didn't come until later. I did take ceramics in university, which gave me an appetite for the medium, but I couldn't figure out what I wanted to do with it yet.
We really throw ourselves into our work and the details from your life show up from time to time in the finished film. Our personal experiences really help to bring shape to the movies we make at Disney.
Henry Kissinger appeared on Dynasty. Have you had any celebrities outside of the film or acting realm that have said, "You know, I'd love to do a bit part or something," a sports star or a politician or?
Definitely it would be foolish to try and make my Czech films here in America, as foolish as it is when some Czech filmmakers try to make movies of America in Czechoslovakia. It was always abysmal stuff.
I think every little girl is fascinated with mermaids whether you are familiar with 'Splash' or 'Little Mermaid' or things like that. I did remember the film but I didn't watch it going into 'Aquamarine.'
I think Hollywood... well, there is no Hollywood anymore so let's just call it the mainstream since the business is no longer Hollywood producing its own films and then distributing, they just distribute.
All of the films I have made, that I have chosen to make, are all about the thin line between good and evil. And also the thin line that exists in each and every one of us. That's what my films are about.
There are certain things that happen during the production of, I think, every film, that you didn't plan, and often it's better than what you did plan. There's the question of either going with it or not.
I went straight from filming the second season of 'Survivor's Remorse,' and the creators over there were so supportive in letting me go early so I could film 'Chi-Raq.' And that was an amazing experience.
Well, I am from India and I wanted to make films in English for the international market in India. So that was really the main thing, and then of course economically it was cheaper to make films in India.