Personally, I prefer contemporary films, but the market calls for more period choices, especially since China opened up a cinema market in Hong Kong. There's a lot of restriction for contemporary films simply because of subject matter.
I saw the original that Gela Babluani wrote and directed called '13 Tzameti,' and that was very interesting. I believe it was a French film, and I was just intrigued by the awkwardness; the off-beatness of the film really just grasped me.
Television is a lot of fun. It's faster-paced. The schedule is really desirable, I guess. But as far as films go, and I've only done a couple; film is like a definitive beginning, middle and end. You know your character's arch.
I wanted to make a film about stupid people that was very vulgar and deeply stupid. From that moment on I can hardly be reproached for making a film that is about stupid people.
We have new tools that can give the audience a sense of not only being there, which is the key element in an IMAX film, but also seeing things in a way that they won't see on television or in feature films.
As an audience member, if I go to a film, and I am watching two actors, and they're kissing, and it looks like they don't even want to be kissing, it just takes me out of the film.
'Flying Down to Rio' established RKO as a leader in musical film production throughout the 1930s. The film helped to rescue the studio from its financial straits and it gave a real boost to my movie career.
I got too fed up with films that didn't make you think. I liked the idea of one that you'd have to be dancing around with. I like my mind to be engaged when I watch a film.
If Wagner lived today, he would probably work with film instead of music. He already knew back then that the Great Art Form would include a sort of fourth dimension; it was really film he was talking about.
I can't do a film after having debated it. I am unable to do a film while discussing it with my team. I issue directives. I do not achieve it otherwise.
For this game, we shot it just like it as if it was a film so there wasn't that much different from doing a film other than some technical things for the costume that had to be done so they could transfer the footage later and make it look animated.
My argument has always been that this is not an anti-Bush film, it's a pro-democracy film. And if Bush comes out on the wrong side of democracy, that's his problem.
I was able to lean on people for favors and things to help out because their budget was so low. It was half of what John Travolta's perk package is on a film. Our whole budget was half of what his staff makes on a film.
We have to do a film parody for Comic Relief. We can't decide which film to parody at the moment. Any ideas welcome, but not Spiderman owing to costume being too tight.
What has always been at the heart of film making was the value of a script. It was really the writer who could make or break a film. But as we all know, the writer has always been at the bottom of the creative heap.
When I met David Green at film school he always used to offer free haircuts - he was kind of an artisan. In a lot of our films, he's constantly trying to give me weird looks.
The biggest difference for me is momentum. On a smaller film you get to shoot sometimes four or five scenes a day and you've got to do the tight schedule. I think I really feel the luxuries of a big budget film.
I'm starting to teach now: I teach in the graduate film program at NYU and next year I'm going to be teaching at Los Angeles at the film program and English program at UCLA.
The decision about digital or film is going to be made for us. I think the answer is that film is gonna be gone, although I think it'll make a comeback; it'll be like vinyl records or something.
I would like to be able to be both a film actor and a stage actor - to be an American actor in the style of a lot the English actors who do films. They are these wonderful actors who can do everything.
Part of me believes that the completed record is the final measure of a pop musician's accomplishment, just as the completed film is the final measure of a film artist's accomplishments.
