The film industry has been extremely welcoming to me. It's an industry which is biased to what they think is talent. If they think you can bring value to cinema, they'll support you.
I just would like to be challenged. I want to push myself to the limit, and constantly challenge myself and grow as an artist. That's where I want to go. Explore different things, different characters, in film, and just everything!
I have never written a play, a story, a poem, or my one film - anything - unless something was troubling me enough, wrecking me, in fact, to drive me back into the absurdity of writing. I do not enjoy writing.
If you've been in a film that's seen by millions and millions and millions of people, you're more likely to be recognized for that than for your theater performances, which were seen by considerably less people. Why would I get upset by that?
If we just made one movie, 'The Hobbit,' the fact is that all the fans, the eight-, nine- and 10-year-old boys, they would watch it 1,000 times. Now, they've got three films they can watch 1,000 times.
Many people will say, well, clothes should be worn; but I think people can look at them in public, like seeing a film. I think museum exhibitions are very important.
I'm transitioning to television and film, but ultimately, I want to have a stronger presence on the web and be able to curate the content that I want to see. To bring attention to other filmmakers and writers.
I've always believed in populating my films with characters who we like, who we have some warmth for, who have warmth for each other, who we would like to hang out with, who we emulate in one way or another.
You prep, you prep, you prep. And on the day that you film, you let all of that go. I try to achieve emptiness as much as possible - the Zen thing - to let the deal come out of that nothing.
Making a film, it uses a certain... 'pretend-muscle,' I don't know what you want to call it. It exhausts something in me, I find. It has to be really something to get me interested.
Some people feel fulfillment from a bitter end - it gives them some sort of sense of reality. But, when you're dealing with reality, I feel like films should discover the part that is happy.
I have a theory that most people disagree with. I really feel that acting for film and acting for the stage are two different crafts. I think that they share things in common. But I liken it to a painter switching over to photography.
At the heart of any successful film is a powerful story. And a story should be just that: a narrative with a beginning, middle, and end, powerful protagonists that audiences can identify with, and a dramatic arc that is able to capture and hold viewe...
Each new film is like a trial. Before I step in front of the camera, I do not know whether I am going to fall or whether I am going to fly - and that is exactly the way I want it to stay.
I try to see my films just once. it's like a dream you've been through when it's been intense, and you just have to go through it once more just to make sure you've had it.
When I'm making an American film, it's more safe because there are so many people on the set to watch me. Whatever I do, they say, 'What are you doing!? Tell me first!' There are so many restrictions.
I think that three-act fundamentalism in film culture is a problem sometimes, because it's almost too obvious, or it's too expected. And it's not the only way to fill two hours, or to phrase things, or to order thoughts, or order ideas.
I became interested in film making at around 16, when I discovered a friend of mine had a HI 8 camera which belonged to his father, which we were forbidden to use.
I dropped out of school at 17 and joined the Irish band The Frames, getting my first glimpse into the world of professional film making while shooting of a number of rock videos.
There are two different stories in horror: internal and external. In external horror films, the evil comes from the outside, the other tribe, this thing in the darkness that we don't understand. Internal is the human heart.
There are some long silences in Scandinavian and some Japanese films, when the audience knows action is taking place, but the audience hears no action.
