I have a lot of things I want to do. I have a lot of fire. I want to do film. I want to do action movies. I want to do period pieces.
I think that all stories - if you make movies about zombies and aliens - it has always to do with your personal story. If not directly, it is about your fears, your obsessions, things like that.
I wanted to write something from a child's viewpoint... Five of the characters I have played in movies have either been abused or became abusers, themselves, and I just kind of felt like there was a need.
I made two movies very young, and then I had trouble getting a movie made, and so - which was both, I think, a plus and a minus. It was a minus because it made me unhappy.
I have a trophy case that contains all the action figures ever made of me. It also has items I've stolen from my movies, like three guns and holsters from 'Serenity'.
I've always fantasized about being on TV. And I was. Then I fantasized about being in the movies. What could be better than captain of a space ship? I get to ride horses, shoot guns, have adventures.
It's my motor, it's the thing that keeps me going and so when I have these auditions for these big movies, I can depend on myself because I've been working consistently.
I don't shoot movies quickly because I get a lot of coverage and a lot of angles, so we have all the pieces in the editing. I do a lot of takes, but it's because I'm looking for something.
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.
