I began to realise that film sees the world differently than the human eye, and that sometimes those differences can make a photograph more powerful than what you actually observed.
Perhaps I am old-fashioned, but black and white films still hold an affectionate place in my heart; they have an incomparable mystique and mood.
I've directed enough in the theatre and a couple of films to know that - to feel fairly secure that if I find a story that I really like I can probably get it done somewhat.
I see horror as part of legitimate film. I don't see it as an independent genre that has nothing to do with the rest of cinema.
On a live-action movie, things happen that are unexpected. In animation, you have to fabricate the feeling. That takes a tremendous amount of nuance until the film becomes sentient and gives back.
I scored a movie called 'Endangered Species'. I worked on another movie called 'Staying Alive'. A German film called 'Fire and Ice'.
Because I trained in theater, I always leave a film shoot feeling like I haven't done anything, like I just sat in front of the camera and whispered, essentially.
I'm always attracted to lower budget, not because it's lower budget, but because they tend to be better scripts. It's the scripts that tend to be the small arthouse film that tend to be more actor-led and character driven.
When on the set of a film, you have to play natural for entire scenes in a very unnatural environment. You have to express emotions and interact with other actors and also use your voice.
With theater, you have to really be able to listen and to respond to other people on stage. You're all constantly on your toes. And then with film and television, you can get a second take and things like that.
Ford didn't know what to do with Mister Roberts that wasn't repeating what was successful in New York. He was trying to do things to the play that would be his in the film.
When you do a voice in an animated film, you don't see the finished product at all. You're not animating. You're not doing the voice on the finished product. You're doing the voice long before.
When you're making a film, it's a very technical process. You do things over and over again, and you have to hit your marks and your light and all that stuff.
I wish all critics, no matter their color, were more sophisticated when it comes to the moral questions a film like 'St. Anna' is trying to raise.
Film and television is just a different technique in terms of how to approach the camera but basically the job is the same; but what you learn as a craft in theater, you can then learn to translate that into any mediums.
I brought Yoko Ono to New York and gave her her first job there. I was editing a magazine called 'Film Culture.'
Acting is always going to be number one, but what I learned in film school, I want to make that happen too, so I'm going to actually start working on my own.
Now everybody's got a video camera, so go make videos with your friends or see if you can get a part in a film school thing that's being done.
People are very reluctant to invest unless they know it's going to be a sure thing, and let's face it: film is never a sure thing.
My earliest memories are making little Super 8 films - or watching my brother make stop-motion space spectaculars.
In most films - especially in regards to the protagonist - really from the get-go they set up some scenario that endears that character to the audience. Or imbues him with some nobility or heroism or something.
