You know, after filming the movie the book was still just as big. I think it was actually bigger. I think Stephen King went back and wrote extra pages. He's fantastic.
Tolkien is eminently filmable, I think. 'The Lord of the Rings' is intensely... landscaped. But 'Discworld' is about dialogue, which is one reason why it might be hard to film.
Doing comedy for film is always a challenge because you are in the hands of the editor after the fact. I am hoping I can do some more soon, I enjoy doing comedy.
Theater is still a medium which attracts young writers. You'd think that it would be all over by now, with television and film. But it's not.
I still think of myself as a stage actor. When I do film and television I try to implement what I was taught to do in theatre, to try to stretch into characters that are far from myself.
There are many films and TV shows I make where people find themselves in fantastical situations; as often as possible, their reactions to it are very normal.
Part of the process of acting in a film that you're also directing is really trusting the people around you to capture your vision, which hopefully you have communicated well to them.
For those of you who thought F. W. Murnau's 'Nosferatu' was his greatest film, I have news for you: his 'Faust' blows it out of the water.
When a documentary filmmaker, working in the style that I do, suggests that there has been a shooting ratio of 40 hours to every one hour of finished film, that doesn't mean that the other 39 are bad.
I think the wonderful thing about doing theater is that it's more of an actor's medium. I think that film is more of a director's medium. You can't edit something out on stage. It's there.
Investigation was like a series of job interviews. Getting the door slammed in your face at every attempt wasn’t the exciting life of the detective portrayed on film or television.
I wouldn't do a film like 'The Dirty Picture.' I have a husband and kids, and I won't be able to do justice to such a role. You need a certain mentality and ease to carry such a character.
We all desire things that we believe we cannot have, and so my films reflect that again and again. The mystery must be solved, the goal attained.
[on Rouge] This is a film about communication that disappears. We have better and better tools and less and less communication with each other. We only exchange information.
There's something about the impact of a big screen that means something to me, even though I realize almost every film is fated to be seen for a year in theaters, and then forever after on television.
When my agents tell me how much I'm going to be paid for a film, instead of quoting a figure, they'll say: 'You're going to make ten pairs of Christian Louboutins.'
There have been moments where I'm like, 'I don't know how I'm going to survive and pay next month's rent.' And the next month I'm filming a movie in New York City.
It's that TV thing. You can be in the biggest film of the year and it will still not have the kind of impact a TV series has. Once you're in people's living rooms, that's it. There's no hiding place.
I buy DVDs almost every week. I'm more of a film buff, so I usually buy more DVDs than CDs, but if I like someone's album, I will buy the CD of it.
I used to do a lot of casual photography - back in the olden times when one used film - but it had fallen by the wayside over the years.
I never feel more alive than when I'm on stage. On film you feel chopped up, you can be acting from the neck up, or the hand, there is a lot of close up.
