I have relationships with people I'm working with, based on our combined interest. It doesn't make the relationship any less sincere, but it does give it a focus that may not last beyond the experience.
But I just know from experience that accent wise, even if you're an accent genius, crossing the Atlantic is the hardest thing in the world either way.
I still that that movie-goers like the experience of leaving their homes and going to have a communal experience, especially in comedies or interactive things where you can get an audience reaction to.
And it was a great experience, you know, to travel the world and compete at a certain level. It teaches you discipline, focus, and certainly keeps you out of trouble.
How do people relate to movies now, when they're on portable devices or streaming them? It's not as much about going to the movies. That experience has changed.
Many of the comedies I had made in Sweden were slightly based on semi-autobiographical experiences, so adapting novels was a very different experience.
I remember feeling that Michael was extremely sensitive when it came to that moment. Most directors are and they usually rely, at least in my experience, on the actress to take over. And Michael is a gentleman.
But I don't bet the farm on any of those possibilities, either. I'm also preparing, intelligently, to walk away from this, and walk away from it happy to have had the experience.
I have to experience all the ghastly, bottomless depths for life for myself; it's for that reason that I went to war, and for that reason I volunteered.
Surfing soothes me, it's always been a kind of Zen experience for me. The ocean is so magnificent, peaceful, and awesome. The rest of the world disappears for me when I'm on a wave.
I teach film directing, inasmuch as you can. It's not really possible to teach film direction, but I sit there as a sort of testimony of experience and know-how, I suppose.
I have a lot of experience in the studio, performing onstage, talking to an audience. I learned most of that stuff when I was performing with my mom.
Tracking action without cutting is the least jarring method of placing the audience into a real-time experience where they are the ones making the subtle choices of where and when to look.
If I stay alert, then I can challenge myself, and by challenging myself, that helps me to stay alive and to hopefully take something away from the experience.
It's weird to try to write lyrics for somebody else. They can't really get behind what you're saying or what you want them to say because they didn't experience it.
If it's total freedom, I guess the ultimate thing you can go into is total silence between the audience and performer, with the performer projecting something he doesn't even have to play.
In The Police, in a trio situation - which I've come back to now - it's just so wide open that it does actually provide this arena where you can play with a certain freedom.
The freedom I have as a U.S. citizen is unparalleled. Despite the fact people may not like American passports, having that passport affords me more freedoms than any other passport could.
Jazz is about freedom within discipline. Usually a dictatorship like in Russia and Germany will prevent jazz from being played because it just seemed to represent freedom, democracy and the United States.
I have just enough people paying attention that I have the freedom to be in charge. And I have a great record company - Nonesuch understands what I'm about.
Painting is really good fun, I have always enjoyed it. As long as I paint what I want with the freedom that I enjoy, I never tire.
