As you know, in America there's no rights for the artist, so whatever films I've made kind of belong to the studio, so if they want to remake it they can.
I'm more embarrassed about some of the films that I've been in than I am about Playboy. Playboy I'm actually quite proud of.
Every film is its own experience, its own planet, its own family. It seems infinite when you're working on it, and then it's suddenly very finite, and it's done.
When I worked on 2001 - which was my first feature film - I was deeply and permanently affected by the notion that a movie could be like a first-person experience.
It's hard to make a living at independent films, at least in my experience. It can be hard to be really creatively fulfilled in some television. Between the two, I get a bit of both.
That's one of the benefits of working on big budget films. You work with people who have a lot of experience and you get to learn a lot.
I hooked up with director Jacques Audiard for this film called 'Rust & Bone' with Marion Cotillard. I loved that experience so much I'm truly sad that it's over!
For the first few years we lived in a tiny rented cottage at the bottom of a friend's garden. We often joked that there was plenty of film in the fridge, but not too much food!
The necessity to conceptualise has to come very early on, and defining a vector of development for that film also at the beginning of the process will allow you much more freedom as you go along.
I now have two different audiences. There's the one that has been watching my action films for 20 years, and the American family audience. American jokes, less fighting.
I don't like the outside world to intrude when I'm making a film. I like to either see my family or work, but I don't like to go out.
I always find that really interesting, you know, when I get to see characters that I love in TV and film and theater around their family.
Our film examines the heroism, courage and prowess of the Soviet submarine force in ways never seen before.
It's truly gratifying to see my films reach beyond a familiar public, to get a chance to move new audiences. It's nuts. It's extraordinary.
I'm not seeking out genre films, but this just came my way, and Miramax was good enough to add a role for me because we wanted the chance to work together.
It perhaps has a chance, a commercial chance, this film. It's funny, it's charming, the idea is original, it's unusual and it makes fun of the movie industry in a way that it needs to be poked fun at.
I'm so critical of myself. I'm actually really, really proud of the film. It's really cool to see a movie at Sundance because everybody is so supportive.
I love working with young people and young filmmakers, and I love working on first films. I think it's cool. It's fun. I just take it as it comes.
I've never been a part of a film before that offers such a platform into real issues, that raises social awareness and has the potential to change things.
No one's ever going to make a PG-13 animated film unless David Fincher executive produces it and puts it out on Netflix, and then if it's a success everyone will change.
Some people say that they read the first 20 pages, and then decide if they want to do the film or not. But, I have to read the entire thing 'cause anything can change in a script.
