Making a big Hollywood film that really affects people is as hard as making a small movie on a credit card.
In my sort of young, idealistic mind, I was just like, 'Well, it's either theater or film for me, and that will be that!'
With pop stars or film stars, we become the object of people's self-definition, as well as the object of sexual definition.
I collect fantasy swords, replicas from films, and have them displayed on the wall as you go up the stairs.
I had starred in more than 30 successful films, six in a row directed by Cecil B. De Mille.
That's the thing with animated films - I often feel that puppets get the better parts compared to us normal actresses.
I auditioned for a musical, and I can't sing. It was a kid's film musical, not a stage show, so I thought I could get away with it.
I always try to make films in such a way that it's hard to imagine how they came to be, or where they came from.
Theatre is liberating because it only works if it's truthful - that's what it requires. That's not true of film: the camera does lie.
In making films, I'm constantly looking for people who are in conflict and who are going to surprise you and challenge you.
How can I make a movie about the violence of the police if the police aren't going to let me film it?
Whereas with Sirk, everything is always filmed. No matter what the script, he's always a real director.
For me, the film has to be incredibly bad to make me want to pack up and leave.
I use cinematic things in a theatrical way on stage, and in film I use theatrical techniques in a cinematic way.
Telly and films has been my thing, not necessarily by choice, and if the right piece of theatre came along, I would jump at it.
The only difference from one $100 million budget film to another is which of the 12 box stars are getting $20 million to be in it.
Sometimes I think I should have stayed longer and I should have done more films.
To make a documentary is one thing, to make a feature film is quite another.
I get emotionally attached with every film I do, and that stops me from being critical. I can't fight my emotions.
When I got cast in 'Rocky IV,' I had never seen a film camera before. And here I was in this boxing movie.
In France, I have lots of opportunities. Maybe now I'll be offered films in America. It's the encounter, with the director and the story that counts.
