Let's say there are things about 'G.I. Joe' that you specifically expect and some things that need to be in the film at certain points, whether it be relationships or certain costume aspects.
You want to know if anyone's going to go see your film. You shouldn't worry about it or get hung up on it. So yea, you kind of monitor it.
I remember being inspired myself when smaller films, whether it's 'Beasts' or 'Winter's Bone,' wound up in the Oscars lineup.
Films exhaust me, they do, and I often want nothing more to do with them, but I'm continually surprised at the resurgence of the impulse to come back and do it all over again.
I'm trying to interpret the film through the director's head, but it all comes out through me. So, a composer is kind of like a psychic medium.
I like Soderbergh, Spielberg, Lucas. There's a lot of talented guys out there obviously, and if you're a fan of films, you have to look at that stuff and learn from them.
I like films better than the theater because you have to spend so much energy projecting your voice from the stage in the sheer effort to be heard.
I've been lucky enough to do theatre, film, and television for a career. Unless I get offered a job as an astronaut, I won't stray too far from it.
I think there's a connection with 'Nightcrawler' and 'Blowup' and other films where visual imagery is integral to the story. It allows you to play with images.
Normally, in a film with lots of twists and turns, half of them don't make sense; they're just there for their own sakes.
Films are wonderful but they do fix an identity. I can't read 'Pride and Prejudice' anymore, for instance, without imaging Colin Firth as Mr. Darcy.
And that's another reason to make this movie: We can put plays on film now, at a relatively small cost, and they will reach an audience they would never have reached otherwise.
An artist makes a painting, and nobody bugs him or her about it. It's just you and your painting. To me, that's the way it should be with film as well.
Usually when you watch a film, you're just sort of biting your nails about things you could have done differently.
If you get a book which is 600 pages, you have to reduce it to a script of 100 pages. In two hours of film, you cannot possibly include all the characters.
No, I'm not a comic book guy. I'm pretty fascinated with the subculture though and I do think that the world of comic books is such a natural transition into film.
Pleasure resorts are like film stars and royalty... embarrassed by the figures they cut in the fantasies of people who have never met them.
'Mr. and Mrs. Smith' - every scene is from those characters' point of view. They're in literally every scene, very unusual in a big studio film.
I think graphic novels are closer to prose than film, which is a really different form.
A screenplay is really a blueprint for something that will be filmed. Therefore you must always keep in mind that whatever you write is going to be staged, for real.
The reason I haven't got an agent is so that no one can contact me to offer me a film part. In case I'm tempted to do something I'll regret later.
