Where I live, nobody who's fourteen is having sex and doing major drugs. And I think if you see it in the movies, you may be influenced by it. I think it's so important to preserve your innocence.
Although I'm not actually embarrassed by this, I tend not to read books that have awesome movies made from them, regardless of how well or badly the movie represented the actual written story.
I was really a charmer; I was the guy who would get to the office, the principal would sit me down and within 10 minutes, we'd be, like, talking about some movies or something.
Human beings need stories, and we're looking for them in all kinds of places; whether it's television, whether it's comic books or movies, radio plays, whatever form, people are hungry for stories.
All my movies have an autobiographical dimension, but that is indirectly, through the personages. In fact, I am behind everything that happens and that is said, but I am never talking about myself in first person singular.
I have my own difficulty with movies in which the suffering of the characters is too real, and many find it difficult to watch comedies that rely too heavily on embarrassment; the vicarious reaction to this is too unpleasant.
Analyses of the movie marketplace points to an interesting phenomenon: High-profile movies are continuing to do well year-to-year in the U.S. and overseas - this past summer, for example, the top 10 movies registered at the same level as in '04.
I guess rebelliousness has been explored in many movies, but what about the smart kids' rebellion? Not just the motorcycle jackets and that kind of rebellion; it's the dorky kid - what could he do?
I wonder if that's hurt me at the box office. Maybe audiences these days want to know exactly what to expect when they go into a movie, and my movies are hard to explain in just one way.
I have learned that I will not pay any attention to anything people say about my movies, because people say things that are all over the place.
Then I went through a whole bunch of crap with my lousy movies and pop records. I had people behind me kind of steering me in that direction, but it wasn't really my bag.
Nowadays the big Hollywood studios only make about three movies a year, and they cost about $200 million each. There's no room for error in that, and not a lot of room, I would think, for free expression.
I want to make movies that pierce people's hearts and touch them in some way, even if it's just for the night while they're in the cinema; in that moment, I want to bring actual tears to their eyes and goosebumps to their skin.
I'm basically a movie actor now, and my big roles are mostly horror movies - unless I'm doing a guest star or something - and occasionally I try to get back into television.
We have a very wide range of content, but the brand-newest movies, what's happening with those is a $30 pay-per-view option - not from Netflix but from DirecTV and others - of movies that are in the theater.
There is too much negativity on Twitter, and I want to stay from it. I don't have anything intelligent to say. Whatever I want to say, I will say it through my movies and interviews.
Movies are a director's medium, and they end up getting less credit than actors. They get the flak if the movie doesn't do well, and the actor walks away with most of the credit if the film does well.
So it took me five years because in the interim I have been doing a lot of personal appearances and movies and some television series that went into the plumbing and I stopped writing for a while.
My favorite movies growing up were things like 'The Wizard of Oz,' but as I got older, I really began to admire people like Steven Soderbergh.
A lot of times I'll make films that are mostly character-driven films - stories that involve people. Like, I make the joke: I like to make movies about human beings that live on Earth.
I did as much as I could in Vancouver. You can only play so many ex-'Falcon Crest' sons in so many movies of the week before you burn out.
