If I'm really considering doing film from now on then that is the smart thing to do, or you can go either way. You can just do the same character over and over again and make a different comedy like over and over again.
For 'Prometheus,' I came back to a very simple question that haunted me that appears in the first 'Alien,' and no one answered in subsequent Alien films: who was the 'Space Jockey' - the big guy in the seat? If you really go into that, it becomes the...
I don't go to the cinema often anymore - I'd rather just pop in a disk and get the biggest monitor you've got, and if the quality is superb, I can watch a film, and if I don't like it I can pop it out.
Fundamentally, I always find that most of the films that I've put out are essentially the director's cut. Part of the process with a director's cut is the leaving behind of certain aspects of the movie that we don't feel necessary because they aren't...
The reason I am unemployed for six months out of every year is because I have to turn down most of the films I'm offered. If I didn't, I'd only ever play a dark, satanic count on a horse.
We filmed one scene on the beach and there was definitely weird energy around, and we were followed around by a white owl to several different locations, and little things like that, or certain mishaps would happen and you'd have to wonder what that ...
Elaine and I got married in summer 1979, we went on our honeymoon and came back for the premiere of 'Scum.' All of sudden my face was on billboards in Leicester Square and people were crowding outside the cinema, going mad about the film. It was a co...
I don't like seeing myself on television and I don't enjoy filming. What I actually enjoy is thinking about how I am going to express something or how we are going to make the visual metaphor.
In orthodox film-making, you never shoot sequentially - but with improv, obviously every move you make has a knock-on effect; it is a cumulative process. I have improvised, on the non-scripted 'Timecode.' It can become entirely indulgent: actors smas...
I've actually done three pilots for Disney. I met with the network when I was 16 years old and had just started acting. I would fly to Los Angeles to film pilots, then fly back to Dallas, where I grew up.
I really do like the independent way of working. You don't get much studio intrusion compared to when you're working on a big Hollywood film where there tends to always be loads of people interfering. The only problem, though, with independent featur...
I stole a ton of film language from Steven Soderbergh and 'The Limey.' It's the definition of elliptical. It was the first movie I remember that introduced me to storytelling that isn't just one scene after another, and that things can be mixed up in...
I feel so comfortable in an acting role, you know, as an actor. Maybe it's because I came into it late. If anything, I've felt frustrated that I can't carry a film because everything since 'District 9' has been supporting roles.
The film opens up the world beyond Katniss' point of view, allowing the audience access to the happenings of places like the Hunger Games control room and President Snow's rose garden, thereby adding a new dimension to the story.
I write for somebody who has my own limitations. My reader has a certain difficulty with concentrating, which in my case comes from being a film viewer.
There are two kinds of directors: There's the kind where two plus two equals four, and you have to help them figure it out. And then there's the kind that throws you in a room, locks the door, sets the house on fire and films it.
I stopped making videos and commercials for a few months before I started films just to reset my clock because so much narrative filmmaking is a sense of tempo and rhythm.
I hate most people. And I don’t want to, it’s an awful way to be. But the human race gives me no comfort. I find myself turning to books and films for comfort still. It’s repulsive, because one’s life consists of people, not things.
There were many films made for both cinema and television, and in general I don't connect them very much with our books. I have one favorite: 'The Man on the Roof' by director Bo Widerberg, which was based on 'The Abominable Man.'
In some ways any film that you do has an artificiality about it. Even when you're doing the most kitchen-sinky, gritty, realistic scene you've still got 50 people standing around watching you with cameras and lights and things.
Right now I think censorship is necessary; the things they're doing and saying in films right now just shouldn't be allowed. There's no dignity anymore and I think that's very important.
