I learned what I really love is making films, not the film business. I want to be on the set, meeting with writers, I want that freedom. I love it now.
I have watched people who have nothing to do with the film business, but who have become part of the circle for a short period of time. They can be truly devastated when the film wraps and people leave.
This film business, perhaps more so in America than in Europe, has always been about young sexuality. It's not true of theatre, but in America, film audiences are young. It's not an intellectual cinema in America.
'Ashes of Time' was my third film, and as a young director at that point, it's not very often that you have the chance to make a big martial arts film, so of course I jumped at this opportunity.
The cool thing about 'Spy Kids 3D: Game Over' was that Robert Rodriguez brought back 3D. I feel like he did with that film. Now, every film is 3D.
Every film you're commissioned to write is all about an arc; usually, the arc is that the world creates a change in the character, usually for the better. To not have an arc, the messages and ideas in the film became more prominent.
My guess is that if they now choose to change of director for every other film, it's just because you can't really change the formula, you can merely try to film it your way.
There are a lot of pros to doing a film, as far as it helping your film career, and it is completely different financially. But theatre is the only place where you get to actually be the character, and nobody is going to come around and change it lat...
I read a lot of plays as a kid, but I didn't see that many plays, so I feel better-versed in film history and film structure. I just think it's easier to think in pictures.
I don't shoot two films at the same time. I finish one character and get into another character because I change my look for every film. It's difficult, but I enjoy doing that.
Sometimes I know a film might not pull the audience to the theatres and have a great collection at the box office. But I need to do these films for creative satisfaction and give something different to the audience.
I make films from the heart. I want to concentrate on the job of doing great and honest performances, and I'm gonna get better with every performance of mine, with every film of mine.
After college, I funded my short films with acting roles in film and TV. I learned my craft through the great opportunities British television gave me as a director.
When I was little it was a great time for film-making, with stuff like Mike Nichols' 'Silkwood.' The films you see in that pre-secondary-school stage stay with you in a very particular way.
In starting to learn about film festivals and what were good ones - 'cause there are five billion of them - it was just a really good East Coast festival. And I thought this little movie was an East Coast film.
I'm hoping one day I can make one really good film.
I just think Australia tends to make very good movies, so if someone hands me an Australian or an American film script I would guess the Australian film would be more intriguing.
When you have Liam Neeson in a film, no matter how good everyone else is, it's a Liam Neeson film. And if there's wolves, and you're running, it's about Liam Neeson running from wolves.
Film has always been a really good tool for me to communicate emotion about why I create a collection. I'm probably one of the first designers to make short films.
I think you get out of film school what you put into it. If you don't care about making movies, film school will do you no good.
I am a cynical optimist. Big opening weekends are like cotton candy. The films you will remember over time are the films that stick in the consciousness of the audience in a good way.
