Stanley Kubrick was a big inspiration. People accuse me of never using my own material. But when did Kubrick? You look at his films and they are completely unique... completely separate entities.
I'm always struck by the kids who turn up in New York and LA, and places in between. Chicago. Wanting to do theater, wanting to do independent film. Wanting to break into television or radio.
Film and television are so piecemeal. You do one scene, and then you put it to bed, and then you do a scene that comes before. In a play, you have to go from beginning to end every night, and that's harder, but also more fulfilling in a way.
After I did nine years of a television series, I didn't want to do anything really that involved going to a set and being in front of a camera for quite a while. And when I did start to want to do things, I wanted to focus more on film.
I've now learned that the most stressful day of filming a TV series is the first day of a new episode. You haven't quite banked the one you just wrapped and are wondering, 'Did I do that right?' 'Could I have done that better?'
I only shoot on film. I like the quality, the grain and the imperfections. It offers me something much more rewarding than any digital camera can give me. I believe the extra expense is worth it.
Runners are the lowest of the low in film units. They're paid very, very minimal wages - probably below the national average. And runners are now being asked to drive actors about, as well as their runner duties. It's kind of the same as taking advan...
I must say that when I left 'Doctor Who,' I was filled with... not loathing, but I was incredibly annoyed because I wanted to do more television and films and the only thing that people could ever see me in was a recreation of what I had done.
Late night is no different than making a film, really, except that it's faster, and if you do a crap one, you can do a better one tomorrow. Writing a novel and doing stand-up - that stuff is very similar.
I like being the lead but I like being in an ensemble. There are different challenges and dilemmas with both. If you're carrying a film, there's a certain weight, but there are a lot of scenes to explore the character. When you're in an ensemble, you...
I watch these actors who when you go to buy a pint of milk you see them smiling on the cover of 20 magazines. Then when you see them in a film it's hard to believe the character because you just see them everywhere.
I grew up in Los Angeles. I still remember when I was a junior in high school studying for the SATs. I had my job - I was actually a production assistant on a film - but on weekends, I would finish my prep tests on the beach.
The trick is after a workout you're supposed to have gummy bears or some candy to get your veins to stick out. Of course, it's all about protein, too, but right before you're filming a shirtless scene, you have a little bit of sugar to pop the veins.
I don't play long parts. They must be short parts, but they've got to be parts that mean something, that matter, where people will notice when I'm on the screen, and people will remember the character after they've seen the film.
I remember in 'Pride and Prejudice' I had to do a scene where I broke down. And before we filmed I spent like three hours imagining my mum's funeral. Actually, she's very much alive, happy and healthy. It was really horrible.
But 'Memento' was so successful, such a huge cult hit, almost on the scale of a large film. If that had happened, with all the acclaim, before the next job, I'd have found it very difficult to figure out what to do next.
Like the he-man movie stars who turn out to be queer . . . or the silent-film actors whose voices sound terrible recorded--the audience only wants a limited amount of honesty. [ellipses original]
My first few films were institutional comedies, and you're on pretty safe ground when you're dealing with an institution that vast numbers of people have experienced: college, summer camp, the military, the country club.
Try driving the streets of Los Angeles without seeing a billboard depicting a film with a lead actor holding a gun. It's almost as if guns are harmless props used to bring out the cheekbones and jawline of the screen star.
I don't know if I was so much of an outsider until after I started doing films. That put me on the outside. I grew up in Texas, and I wasn't the child of industry parents, and I didn't have a lot of friends in the industry or anything like that.
Being down in Orlando, Florida, where we filmed the movie, I learned how to bass fish. Jerry Reed, who plays the villain in the movie, taught me how to bass fish.
