There is no difficult moment working together because when we start a new project, Dante starts to make all the sketches and I can see the vision of the movie and then I start my job.
Sometimes I finish a movie, and I get used to a certain lifestyle, and when that stops, I get a bit lost for about a week. 'No one is bringing me lunch anymore - I've got to go do that myself?' I lose the main point of my focus.
I suppose they call me a woman's director because there were all these movie queens in the old days, and I directed most of them. But I also directed Jack Barrymore and Ronald Colman and James Stewart, to name a few.
Of course, I'm not often the top dog, but sometimes it's better not to be top dog, because you last longer. If a movie or play flops, you always blame the lead. They say, 'He couldn't carry it.' They always blame him. But they rarely blame the second...
I'm fascinated with worlds where there's a small population left, whether it's a movie or these TV shows that fascinate me - 'Falling Skies' or 'The Walking Dead' - they are about survival and triumphing over difficult times. I just have a thing for ...
I remember how much fun it was to pick out my lunchbox. My all-time favorite lunch box was from the movie 'Annie.' Also, I loved picking out school supplies! Trapper Keepers were my favorite.
I'm in kind of a strange position - I have a strong Australian career and a strong British career. Then there's the American career. For every movie I do here, I do two somewhere else. I bounce back and forth between the three places.
It's a director's job to tell a story and he's very well versed in telling stories with a bit of comedy in them and keeping the pace of the movie right and that's exactly what he did. He was observant of a world he didn't understand but he told a won...
If people are talking about your movie and they're like, 'Yeah, it was ok' - that's the last reaction I would want! I would rather people would say, 'Oh, I hated it!' or 'I loved it!' rather than 'Oh, it's ok.'
We always seem to be a bit surprised that our children are reflecting stuff that we are showing them. I don't know about you, but every movie that I saw when I was a kid, I emulated. I was Haley Mills for an entire summer and had an English accent.
NW" is full of split selves, people alienated from the very things they thought defined them. Their nostalgia -- for old movies, old songs, buses they don't ride anymore -- is less a salve than a form of pain.
I think everyone who goes to see a 'Bond' movie expects to be impressed by the look and the locations chosen. Certainly I was when I grew up watching them, and I don't think that's changed in the last 50 years.
You get to a point where you have to start planning, when you cross that line where you have enough value to get someone's movie made if you attach yourself to it, you have to be very thoughtful and have to plan.
Like the he-man movie stars who turn out to be queer . . . or the silent-film actors whose voices sound terrible recorded--the audience only wants a limited amount of honesty. [ellipses original]
Everyone who moves to New York City has a book or movie or song that epitomizes the place for them. For me, it's 'The Cricket in Times Square', written by George Selden and illustrated by Garth Williams.
If I'm jetlagging, and I've missed some meals, and it gets to that point in a movie that you're supposed to cry, I'll let my defences down from around my inherent standing level of cynicism, and I'll cry.
It's too bad about 'Dark of the Sun.' It was really about Tshombe. When I read the script, I thought it was going to be a political movie, and I thought we might even have a hassle. But the director simplified it to brutality and bad taste.
I also know that in the second movie, the sequel, Eric made some huge advances with the robot suit. That just made it even better. You put the suit on and moved your arms then the robot's arms would move in sync with yours.
It's all false pressure; you put the heat on yourself, you get it from the networks and record companies and movie studios. You put more pressure on yourself to make everything that much harder.
To have a second movie that you're proud of and that actually turned out the way you wanted, shot by shot, I realize I'm probably going to be able to do this for a little while for my living.
Way back in the '70s, I was approached to talk about the story I'd write for a Spider-Man movie. They also talked to me about Batman. I had to think about it, but that was way, way back when.
