I gave up the idea of having a career when I was 24. Sounds glamorous, but I've been doing things since then, and part of those adventures was to make films because I realised I was actually quite good at it and I enjoyed it.
When 'American Pie' happened, I was so lucky to get that opportunity and I just tried to do a good job in that genre. But the films that inspired me as a kid were, like, Malcolm McDowall in 'A Clockwork Orange.' He was my hero.
I just like comedy in general. My film work, which has been at times more dramatic, has been satisfying. But I never feel quite as good and as light and blissful as when I'm doing comedy.
If you're sitting in the audience, you probably can't see the preparation and work that goes into creating a great scene or a great part, but I can assure you that a good film depends on lot of different things falling perfectly into place.
The money I earn from films means I can help the people I want to help - you can do a lot of good if you want to.
You try to get out there and live. I've always had good friends who've been very supportive and help make me feel good and grounded because I've never felt attached to the film industry.
I'm looking for backing for an unauthorized auto-biography that I am writing. Hopefully, this will sell in such huge numbers that I will be able to sue myself for an extraordinary amount of money and finance the film version in which I will play ever...
Everyone knows in the industry that when these great roles come up, every two years, there's a huge number of people up for them. I'm not one of those top five females that can personally finance any film.
A lot of people of my Ulster Protestant background would have been very suspicious of the notion of a film about Bloody Sunday. Our fear would have been that it would be terribly anti-Britain and anti-soldiers: a piece of nationalist propaganda.
I think that my vampires in general were influenced by my being allowed to watch the Hammer vampire films. Vampire Circus, also shown as Circus of Fear, was one of those movies.
Anytime you cast a movie and you need someone famous in the lead part, you're a prisoner of whoever happens to be famous in the six-month window in which you're trying to get a film financed.
Of course, Hollywood is still making some excellent pictures which reflect the great artistry that made Hollywood famous throughout the world, but these films are exceptions, judging from box office returns and press reviews.
I studied Hitchcock a little bit at University and knew the famous story about the Birds - that he'd tortured Tippi for a day using real birds. I had no idea that it was a five-day onslaught and that it was the tip of an iceberg that carried on throu...
Tyler Perry's brand is faith, family and this whole thing that I've built, while my company, 34th Street Films, is like Disney's Touchstone. We can do anything. People don't know what to expect from me yet.
The future of Arab films is absolutely up to Arabs and no one else. They've got the equipment, they've got the will, they've got the talent, now they just need a little bit of history behind them and a bit of cultural relaxation.
I think 'Saturday Night Live', starting in the 1970s, really gave women an outlet to be funny. A lot of those women went on to have film careers, from Kristen Wiig now to Tina Fey and Gilda Radner.
I like the hot-cold, the sugar-salt, being able to play over-the-top and dramatic things - in the same film. Just as in my life, I can be very funny and at other times almost extinguished.
I make these little films. I'm just a working person. I just study people a little bit more. It's more sociological, and it's funny anyway - not that serious. It's not like false humility. I just take it for what it is.
I used to like Barbra Streisand films. It was 'Funny Girl' that really turned me on, in a sense, to acting. I remember it specifically being a rainy Saturday afternoon. I couldn't play football, so I stayed in, and I watched 'Funny Girl.'
The truth is often terrifying, which I think is one of the motifs of Larry and Andrew's cinema. The cost of knowledge is an important theme. In the second and third films, they explore the consequences of Neo's choice to know the truth. It's a beauti...
I've made some films for the military that are teaching things like cultural awareness and leadership issues, that sort of stuff. And try to, in essence, look at what training they're doing and say, 'This is how you can improve the training from a hu...
