One of the things about the '70s films I love - the films 'Nightcrawler' is being compared to, like, 'Taxi Driver' - is that they never put their flawed characters into any one box.
Strange - I'm not much of a film person. I love watching films, but they don't stay with me the way books do. Stranger still, because my husband is a screenwriter!
Every day I spend in Hollywood, I start to realize how many films are made with no heart and no love. They just do it for the paycheck, and I cannot imagine making a film that way.
If 'Trek' is a hit, we'd love to do a series of films - a regular event. Look at James Bond's films. They've been around since the early sixties.
I didn't come from a background of films. I didn't even really ever watch films. The fact is, my parents weren't into that stuff, and neither was I.
In studio films, everything has to be boxed in, everybody needs to know beforehand - this is comedy, this is sci-fi, this is drama - and what's the point of independent film if you don't get to experiment?
I really fight hard to make things film where they're supposed to be filmed. If something is supposed to be in New York, then it has to be in New York.
We have a documentary film festival in Mexico. It's really original. It's called Ambulante, and it's a film festival that travels around several cities in Mexico.
I've been lucky enough to do a few films that will last longer than an opening weekend and those films are the ones I'm proud of.
I'll definitely say that, before film school, I didn't have much of a film-history background. I didn't know much about classic cinema.
I used to hate doing color. I hated transparency film. The way I did color was by not wanting to know what kind of film was in my camera.
I have always tried to make profitable films because people's offices shut down if films fail, and I will do everything to avoid that.
Honestly, there are so many things about structuring a story for film and telling a story for film that are really different from doing radio.
I grew up thinking there was something called 'independent film,' which I wouldn't necessarily have had access to if there wasn't Sundance.
I don't like films giving me answers. I like films that are provoking me, that are making me feel not only being in an easy place.
A period film, where you, for example, where you have a traditional wardrobes, you are bound to act a certain way. But in a modern film, a lot of body gesture.
I might do my own independent film, that my husband wrote for me, if all the ducks are in a row.
There is also an artistic element which is lead by the film maker. Issues of what is reality and objectivity are as always relevant as someone is going to edit the film.
You really think that on my films people tell me what to do? I don't think so. On my films I decide.
When I do short films, I try to do something completely out of my comfort zone, out of my element.
After all, film is so porous, and to my mind, so oddly occult, that I think that film itself absorbs odd energies like a living skin.
