I am not afraid of much. I kill all the spiders in my house, and I'm planning to go skydiving. I am into girl power, and I'm very self-sufficient.
We come out of Jewish-refugee, Holocaust stock, which means that our predecessors fled and we learned that systems of power are vulnerable to corruption and can treat the defenseless in a destructive fashion.
I foresee the Chinese ruling the world. What are you going to do to stop it? No president of the United States will ever have enough power to stop the Chinese when they want to take over the world.
Enormous enlargements of an object or a fragment give it a personality it never had before, and in this way, it can become a vehicle of entirely new lyric and plastic power.
As far as I can tell, 1968 is a year about change, about revolution, about violence, about people turning inwards as community breaks down.
High-level actors can be all about their close-ups and the size of their trailers. I'd heard these horror stories of how a really powerful actor can come in and change your script.
Obviously the biggest change is that it's me by myself. When you don't have another band interpreting your songs or playing them the way that they have, it's bound to sound different.
First I would probably place men at the bottom of the food chain. On a grander scale, I would say they're reacting to change. Feminism has got to be part of that.
What is beautiful enchants me. I mean not just physical beauty but a wider concept of beauty. There is beauty in poetry and in great musical or singing performances. There is beauty everywhere if you can just see it.
Sometimes the beauty is easy. Sometimes you don't have to try at all. Sometimes you can hear the wind blow in a handshake. Sometimes there's poetry written right on the bathroom wall.
I just wanted to see every single musical I could. The very first one I saw was 'Beauty and the Beast,' the only one I could get tickets for, and then 'Les Miserables' and then 'Chicago.'
My work is about the underbelly of the beauty of nature - and the dark side of nature is its indifference. Nature isn't friendly, nor is it unfriendly - it's the perfect embodiment of the Other.
I am very proud of this work because it is more about the meaning of the Easter Rising and its relationship to what this whole century has been about, people liberating themselves, freeing themselves.
It's the same thing that drives people to want to experience sexual pleasure or have one too many drinks. We all want to experience the other, and to get out of our daily existence.
With a lot of films, people are sitting on the outside looking in, but I want the audience to get a bit more intimately involved with what's going on, so that they maybe can experience it a little bit more intensely.
I think if you don't feel passionate about the first movie you're doing, in the end the project will lack something because you don't have enough experience to make the movie something special.
You are traveling and see these people shooting the entire experience of going through a city, and maybe in the back of their minds they sustain the illusion that they will edit it all, but I don't think that's it.
My experience of test screenings is that you don't know what kind of mood people are going to be in, and sometimes the studios accept what Joe Blo says - and this guy could just be a frustrated filmmaker, or not paying attention.
I learned with 'Birdman' that it's liberating when you just lose yourself and go after something that terrifies you. The experience was so good.
I studied for three years in the theater, and it was a very, very scary experience to direct live, being so vulnerable without the possibility to control things, to be so exposed.
Growing up in Poland, I didn't have the experience of going to Disneyland as a child, so I don't have any childhood memories connected to it, good or bad.
