My main camera is a Nikon D3. I use a French camera from the 1800s for wet plate photography, I use a Hasselblad sometimes. But to me the camera really doesn't matter that much. I don't have a preference for film or digital.
If I watch 'Gone With the Wind,' I always find it interesting. I think, 'What's going to happen next? What's that character going to do?' But you know, you never really need to watch the films you made again. They stay inside you, always with you.
What happens so often as an actor is that you retain the information about the scenes that you yourself shot and you obsess over certain scenes that you found the most challenging or interesting. The rest of the film kind of falls away in your memory...
When you're having conversations about actors, you realize these same conversations have happened about you. If you want to make a film for $5m, then you cast A, B and C, but if you want $20m, you won't be able to cast them, you need X, Y and Z.
I would hate to be thrust into the middle of a big film and not deliver. There's young actors and they're put into these central roles and they're commanding armies - but they can't quite pull it off. I'd much rather do it in small steps and build it...
With songs I almost see the images, see the action, and then all I have to do is describe it. It's almost like watching a scene from a film, and that's what I go about trying to catch in a song.
Like any traveler, I'm always looking for those experiences that are almost unique to any place, and watching films around Alaska of the skies in winter made me want to taste those unworldly showers of light in person.
This one, even though it called for San Francisco, I think they wanted to initially shoot part of the film up here, you know get the exteriors and then go back to L.A. We really fought to get it up here and I think Paramount was really pleased.
Oh yeah - I watched Knife in the Water, saw the shot, and repeated it. But even if I hadn't seen that film, inevitably the camera would've ended up on top of that mast, I mean if you think of it there are only so many dynamic shots on a boat.
National film industries tend to move in cycles. In Australia right now, we're on a high, a feeling of potential, which as yet shows no sign of flagging. But the word 'industry' is misleading. A small national cinema has no industry in the Hollywood ...
I don't care for horror and fantasy films. I never go to see them in the theater. I know I've played in many of them, but I didn't do them because of their genre - I did them just because I loved their scripts.
My next film is always shaped by the last one... by the things I feel I didn't get right, or the things I like and want to try to develop further, but it always comes out of the last picture.
I did a lot of stuff before I became known for horror. I did a lot of small films in the '70s, in all kinds of styles. I worked with all kinds of people when I was just starting out: I was incredibly lucky.
Horror fans are a particular breed. They analyze films with such detail and expertise that I am reminded of the Canadian literary critic Northrup Frye, who approached literature with similar archetypal analysis.
You're talking to somebody who two years ago couldn't figure out how to use e-mail and who now has carpal tunnel. It has totally changed in that these films would not be getting out to people the way they're getting out without the Internet.
I've always scribbled, and I still do it. I've written numerous scripts for films for which I think I'd be perfect as the complex, intelligent and, yes, modern heroine. Embarrassingly bad, all of them. I've had to come to terms with the fact that I'm...
So much of the downstream revenue is linked to that initial excitement, to how much revenue is produced in the domestic box office. For example, what we pay for a film three years later is highly correlated to how well it did in the box office.
What really shocks me, what I can honestly sit back and ponder for hours in a lot of cases is just, 'Why would you film yourself doing that? Who put you up to that? What are you getting out of that?'
There's something very... spiritual about fighting. It's physically very challenging. It's for killing people, after all, so it's taught me how to look at something head on. It's like living - confronting something. Everything for me came from films.
They offered me that film before I did Frida and I said, no, I'm not capable of directing. Then after seeing Julie direct, I was inspired by it. She motivated me to do it, because we don't have role models as woman for directors.
British diplomats who worked in Iran during the 1980 hostage crisis are deeply upset by Ben Affleck's Oscar-winning film 'Argo,' which suggests they refused shelter to the group who managed to get out of the U.S. embassy.
