I decided I was going to give up singing and concentrate on acting, and a result of that, I didn't do another film for two to three years, and I don't blame it on anybody but myself.
With film, you have very limited tools to convey subjectivity - voiceover, the camera's point of view, good acting - but even the very best actor in the world is crude by comparison with what you can do in a written paragraph.
We do like digital projection. We like shooting on film, finishing digitally, and projection digitally. That's what I like best. It's still a movie. It's not someone's camcorder and it got projected. That's mean, I know.
My films don't give you an easy ride. I can see that. The sense I get is that people have quite a physical experience with them. They feel afterwards that they've really been through something.
When you're doing a film, narrative is your most important tool, but it's a tool to create a cinematographic experience, to create those moments that are beyond narrative, that are almost an abstraction of that moment that hits your psyche.
Because I found myself telling the story of his family to people without the visual aids that I was able to employ by filming them eventually. But I very much knew exactly what I was going to do.
I've had a lot of experience in independent film, and about how to choose. You've got to be very discerning about where you put your five bucks, and where you cut and what you don't cut.
I was making a film called The White Tower at the foot of Mont Blanc - the one thing I learned from that experience was that it's more difficult to go down a mountain than to go up. A lot of people don't realize that.
My first experience with film was through a still camera. I would sit, very much against my will, with my father in the game reserve, watching some elephant or rhino or whatever, through a 400 millimeter lens and wait, and waiting and waiting.
I've told people who have just started to make a film that the one thing you might experience is this feeling that everybody is conspiring against you, because you're not necessarily able to tell what's real and what's not.
I went to film school, so I certainly know how to make things quickly and cheaply. But at the same time, I have the experience of working with Steve Starkey for three years. I watched him produce some gigantic movies.
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.
With indies, all they have is their script and it's very important to them. The characters are better drawn, the stories more precise and the experience greater than with studio films where sometimes they fill in the script as they're shooting.
By nature, I think I am a pretty private person, and that is what is hard even doing interviews for films that I really love doing, because in some ways, it diminishes the experience that I had.
Hits and flops will come and go. But what stays with you is the experience you had while shooting a film. I am happy learning something new each time.
I think early on in my career, I was heavily inspired by bands like Throbbing Gristle and Test Dept, and films of David Lynch, for example, where the soundscape plays a very important role in the listening experience.
Having had that experience... I think, what modern culture wants to see is the relationship with the woman. I don't think you can tell a story on film nowadays where the woman simply is there for the man when he decides to settle down.
Rarely do I do film press because I'm so low on the food chain of the movie, and for me it's just this thing I did for four weeks before the next tour started.
I think that there's a lot more freedom in the low budget, the independent films where, unfortunately, you don't have the money, necessarily, to get the orchestras in there to play a lot of stuff. But, you have a lot more freedom, very often.
All the characters in my films are fighting these problems, needing freedom, trying to find a way to cut themselves loose, but failing to rid themselves of conscience, a sense of sin, the whole bag of tricks.
You have to struggle a bit, hustle a little, and be willing to go bankrupt. Once you're willing to do that, everything opens up and you get the freedom. My joke is that next year, I'll make the first film that costs zero dollars.
