The movies that I love and model after, like 'Annie Hall,' 'When Harry Met Sally,' and in particular for me, 'Broadcast News,' are the tone of life, which isn't a setup punch-line every two minutes.
'Hairspray' was a movie turned Broadway musical turned Hollywood remake, and that is the 'Lion King' circle of life as we know it in Times Square, the creative loop that swings for the stars and sometimes crashes into the upper deck.
I've been to two festivals in my life, and I've never been to Toronto. I haven't really been making festival movies. This is new territory for me.
I'm proud of all the movies I've made. They're not sequels, they're not franchises. And the reason I pick my films carefully is that I don't want to spit on my life. I like to think of myself as more than that.
I believe in my privacy. I always have, and I always will. I don't think that my private life needs to be on display for me to get a better response at the box office or for me to get a better choice of movies.
It took me so long to get to the music, where that was what I wanted to do all my life. It took me so long to realise that it wasn't really movies that I wanted to do, but to be on stage singing.
I think of a book and a play, or a book and a movie, as two separate things - I don't think of it as my novel having a new life.
Usually you talk about directors in terms of the way they choose camera lenses or a kind of light to create a certain effect. But to me the most valuable commodity for a movie to create is a feeling of life, and that's what A Hard Day's Night has in ...
'The Karate Kid' was just lightning in a bottle. The second movie is a very worthy sequel, because you got to explore the Okinawan culture and learned about Miyagi's life. The third, as is always the case, was made because the second one made a lot o...
I wish that my life could be like the movies, like 'Bonnie and Clyde' or 'The Hunger' or 'Harold and Maude.' And... it can be! It maybe just takes somebody else who is as fearless as you. It takes a person who will not hesitate.
In movies and TV, we tend to fall into tropes about how characters might get out of problems. But when you look at real life, you realize that there is a lot of drama of not being able to get out of the problems.
I have loved movies as the number one thing in my life so long that I can't ever remember a time when I didn't.
It's still a trip for me to see somebody that I've only seen on television or in a movie. When they are there in real life, it's very different. When we played Detroit, Kevin Costner played before us.
My movie is born first in my head, dies on paper; is resuscitated by the living persons and real objects I use, which are killed on film but, placed in a certain order and projected on to a screen, come to life again like flowers in water.
It's not that I am not emotional, but I am extremely secure and curb it, as I am afraid to let go and be broken. So, I have cultivated myself to be detached in life, specially where movies are concerned.
The desire to move into a bigger house, to avoid living AIDS daily, and a dream to be accepted by a community and school, became possible and a reality with a movie about my life, The Ryan White Story.
The process of composing the film score for each movie is completely different. They all have their own personality and their own completely different life, but there's never been a formula. Each time, it's a new thing.
I wouldn't call myself successful, just obsessively exhausted. The music makes me smile, the movies make me feel humbled, and the comedy saves my life every day.
Reading a script is usually as exciting as reading a boilerplate legal document, so when you read one that makes you feel as if you're seeing the movie, you know it's something different.
In the old days, before there was such a thing as film schools, directors learned the camera by watching other directors, and learning from their own dailies, and listening to the cameraman, and seeing what would work. Some of those guys could cut th...
I can't always be making 'British films.' Why should we be making films about corsets and horses and girls learning to drive when Americans send over an event movie and make five or 10 million?
