There is rap music in all my films. In 'La Vie des Morts,' there is rap music too. It's because I'm French, and when it appeared in 1978, it was so new, it set off my musical imagination.
I sort of jumped out of movies and into the lifeboat of comics. I loved it right away. It was the opposite of film school. Whatever was in my imagination could end up in the finished product. There were just no limitations.
The general effect of viewing 'Jumanji' is thrilling. I was able to see on film a thing that at one point had only existed in my imagination. I got to see the images from my book come alive.
There's the argument that you can relate to someone who's completely unrelatable. In the way that a director shows you his imagination on a film, then I get to show you my imagination in a big dumb character.
Agnes Varda changed my view of cinema; she directs from an artistic point of view, and a film is most of all the expression of an artistic director. I learnt to enter the world and the imagination of a director.
I still feel that a movie has to attempt to say something - even if it fails miserably. But I've sort of given up on believing that I'm going to change the world with every film I choose to act in.
It's interesting to see what people are saying about me. I like keep up with the latest rumors! A while back there was a rumor that I was going to do a film with Demi Moore about the takeover of Commodore computers!
I did 10 years of comedies and 10 years of Westerns. I really like to stay away from car chases. I prefer the more intimate film. You have a much more direct association with the emotions.
It's sad that women characters have lost so much ground in popular movies. Didn't 'Thelma and Louise' prove that women want to see women doing things on film? Thelma and Louise were in a classic car; they were being chased by cops; they shot up a tru...
As soon as I get my car I think I'll be going to the cinema more. Since I don't go very often, there are no films that are a must see at the moment. I usually wait till they come out on DVD.
My grandmother was an actress too. In the thirties and forties she was under contract with Universal Studios. Crazy credits, lots of them. My dad was also under contract with Universal Studios. And my first film was shot on the same stage they both w...
When you're shooting a film, you really don't get to be a dad, and you don't really get to be a husband. You don't really exist at all. But I do drag my family with me on location whenever I can.
Working with my dad was such a gas. We approached the work in a similar way. We only made two films together when I was an adult, Tucker, and Blown Away, but it was so much fun to play with your parent like that.
When I was 8, my dad asked me if I wanted to audition, just for fun. I did just a little short film, and I liked it. I just kept doing it, and then I started getting bigger auditions for bigger roles.
Whenever I did a good performance, my Dad and my uncles, who were rabid movie fans, took me to the movies. There began my underlying love affair with film.
My folks were busy. My dad was a teacher, and it was during the Second World War, and my mother was working. So I got my stories from films and books. I read a lot, and I love to read to this day.
A lot of young filmmakers bring their movies to my dad because he always gives lots of good editing ideas and notes. He'd be a good film professor.
My mom's a translator, my dad's a woodworker; that's the world I grew up in, that's the world I'm most comfortable in. The whole idea of Hollywood or any of that other stuff that unfortunately goes along with film, that wasn't part of my upbringing, ...
I got to work with Dustin Hoffman on a film called 'Billy Bathgate.' I got to work with Meryl Streep and Goldie Hawn and Bob Zemeckis on 'Death Becomes Her.' There are still a few actors out there that I would like to work with.
I am profoundly fascinated by cruelty, fear, horror and death. My films show my preoccupation with violence, the pathology of violence.
It's funny, though, speaking of fathers and sons, because me and John Goodman played father and son, like, five or six years ago in the film 'Death Sentence,' and I got back with him again in 'Inside Llewyn Davis.'
