You go to a theater now and you literally see parents watching the movie and they suddenly cover their kid's ears. I figured I'd make one movie where they didn't have to do this.
I'm a fan of the western genre. When I see a character actor, I see a whole movie behind a scene before and after. There's a whole other movie behind it.
I scored a movie called 'Endangered Species'. I worked on another movie called 'Staying Alive'. A German film called 'Fire and Ice'.
If I thought of myself as a movie star, I'd be an idiot. I don't know anyone who thinks like that. I don't even know movie stars who think like that.
You don't want to make a movie just to make a movie. You better have a point of view.
From my own internal fanboy perspective, there's nothing that I hate more than seeing a three minute trailer for a movie where I feel like it's shown me the entire movie.
This is the world we live in, isn't it? Tons of spin-offs; people reboot things very quickly. I was amazed how quickly they made a Wolverine movie, then, 'Let's do another origins Wolverine movie.'
I can't make a movie unless I believe in the themes behind it. I mean, that's the first question I ask myself, always, is, 'What is this movie about?'
I have met a lot of top chefs around the world during my travels. Each one of them has said 'Ratatouille' is their favorite movie and the only movie that truly captures what they do.
Every two, three years there is a movie about the Holocaust because they want you to remember and they want you to be reminded of what it was. When was the last time you seen a movie about slavery?
The challenge with 'Watchmen' is making sure that the ideas that were in the book got into the movie. That was my biggest stretch. I wanted people to watch the movie and get it. It's one of those things where, over time, it has happened more.
Edward D. Wood, Jr.: I'm a movie director. Tor Johnson: Movies? You mean like the Mickey Mouse?
Now while the German money is over for Hollywood, I still have $80 million to make movies, and we will have two things coming up: less major movies and the price for actors will go down.
I think if the movie has resonance and stimulates the viewer to talk about it, you can have as large an audience as you want. The most important thing for me is that the movie exists. And that's success enough already.
I'm interested to see what happens to Spike Lee with limited resources, you know? I love Spike Lee's movies. But you know what? I kinda liked his movies when he used to scramble and fight more for them.
I get a lot of dramas, but I'd like to do a romantic comedy type of movie; that'd be a nice step for me. No more screaming or running or shooting... for one movie where I can just be in love with a boy.
You don't have to make, you know, $3 Million dollars a movie, or $20 Million dollars a movie, but if you make a living doing what you love doing, then that's success to me.
In Evita I wasn't really hugely involved with it. I gave a little bit of help but they needed a bit of technical help on the movie and so some of my music people went in at the end of the movie and helped out with it.
For you, it's a silent movie. For us, it's a talking movie because we had lines on set. There's a lot of noise on set and music. We spoke in English, in French, in gibberish, but it was very alive. The challenge was tap dancing.
The two real leads in 'Children of Men' are Clive Owen and the social environment. You know, this same movie without the social environment maybe is just like a generic chase movie.
My characters always start well in movies. Almost every movie I've done starts with a happy marriage, it's all beautiful, wealthy, whatever... and then of course my husband leaves me, and everything falls apart.
