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.
I wonder if games are maybe a terminus for ideas. Things can be books or movies or operas or plays, but once they're a game, that's where they should end. Things shouldn't start as games and be taken to movies.
'Transformers' was important and defining for me because it taught me about what kinds of movies I want to make and the kind of actor I want to be, and I have a long way to go before I become that actor.
For six months I'd do movies and make it all about me. Then the other six months, it's not about me and it doesn't matter what my hair looks like or what anything looks like.
I remember my first taste of American big movies was 'Ghost Rider.' I'm in two little scenes. But for those two little scenes they had 400 extras, upside-down stunt cars, and a fire brigade.
The things I see now on TV and in movies are so outlandish. Kids doing rude things with pies! And the language that they use! It's being outrageous for the sake of being outrageous. I can't watch it. It turns me off.
Why do I use the same actors in different movies? One of the things I really stress in casting is I need to find someone who is suitable for the role in the movie. That's always the main reason.
