I seemed to belong to three countries: I had an apartment in Paris, a house in Hollywood, and when I married British theater director Peter Hall, I moved to London.
I find it easier to play someone who is so far from me because you create someone - you build this person based on the story and the script, with the director.
An actor can be as talented as another, but if he doesn't stick to what the director's intentions are, it all falls down. I adore working with actors.
I never try to show an actor what to do or what to say. He has to find out for himself. The role of the director is to guide him to that state, and then to implement it.
When we did concerts, we wanted them to be theatrical events - collaborations with designers, choreographers, and directors - because we thought traditional rock concerts were boring.
My directors of photography light my films, but the colours of the sets, furnishings, clothes, hairstyles - that's me. Everything that's in front of the camera, I bring you.
I became a film director, but I wasn't successful with my first couple of films, so I had to turn to becoming a film critic to make a living.
I think TV is much more the writer's medium and film is about the director and their vision and how you can collaborate with them and see that through to the end. They are so different.
One thing I know is that I don't want to be a director for hire, making genre films.
'Carrie' was a pretty big-budget movie at a real studio, with a director that had already done a bunch of things and had some notoriety, and Stephen King was the writer.
I had become a film director because I thought I could express something in an artful way.
Normally as a director, you do look at other films and things that are relevant. But with this film, it became impossible because I became so aware of the camera placement.
I was not born a size 2. I'm not skinny, period. I'm not willing to sleep with the director or step on somebody else's neck to get the job.
But for me, the challenge is how you turn a character into behavior. Once the director says 'action', you just try to live between those two worlds.
Sometimes jobs are jobs, and when you guest star on television, you're also working with a guest director. You're the new kid on the block, because everyone else is already in the ensemble.
It is universally agreed that Jean Renoir was one of the greatest of all directors, and he was also one of the warmest and most entertaining.
When I was very young I wanted to be a professional horseback rider. Then I wanted to be a pop singer. Then I wanted to be a psychiatrist. Then I wanted to be a movie director.
I'm such a fan of Daniel Waters, who wrote the script, and also Mark Waters, his brother, who directed. 'Vampire Academy' has, I think, an iconic director.
There has never been a female director who has won an Oscar. There has only been one woman who won at the Cannes Film Festival.
I'm in awe of directors like the Coen brothers who can shoot their script and edit it, and that's the movie. They're not discovering the movie in postproduction. They're editing the script they shot.
As a painter you're responsible yourself, 100 percent. In film, you have the editor, the director, the other actors. It has the advantage of not being solitary.
