I think the obvious answer is I was raised in New York City, so growing up, not only myself but my family, like my father, we would watch a lot of Scorsese films.
I was very young, and I was on vacation with my family, and there was a retrospective of old films, and one of them was 'The Phantom of the Opera' with Claude Rains that was in color. It was something very important for my career because I began to f...
It's really wonderful that it's the whole franchise being recognized and it's a collective award. Each film has anywhere between 2,000 and 6,000 people working on it and so really the award is for each and every one of us. We are like a family.
Hallmark makes beautiful films that feel as if they should be watched in a theater. The Hall family knows the power of stories, and they give us unforgettable movies with heart and depth and the resonance of classics.
We have three generations at home, including my father-in-law. I keep a very low profile, and a lot of things I do are very much with the family in mind. I have actually made films with the family around me.
There's more of a family connection when you're working on a TV show. That's not to say that you don't make great connections when you're working on films, but it's different unless you're there working every day.
I look OK. I look better in person than I do on film, which is bad because it's how I make my living, but I am not a beauty and on balance I am glad.
'Sunset Boulevard' - the story of Hollywood movies draped on a depressing sex affair - is an uncompromising study of American decadence displaying a sad, worn, methodical beauty few films have had since the late twenties.
My main aim has always been to do good quality films with roles that have some substance. With Power and Beauty there were loads of things that I liked about the movie, which made me opt for it.
The thing that helped me get into the film business was that I went to school in Athens, Georgia and managed to get on, um, working on music videos for a band called R.E.M. and that kind of opened up a lot of doors for me.
Foxes was a movie that didn't do a lot of business but it didn't do too badly critically and eventually they offered me other things. The interesting thing was that next I tried a film called Star Man, which Michael Douglas was producing.
The music business is rougher than the movie business. In film you get noticed in a small role, even in a movie that bombs. But in records you better have that hit or else it's 'See you later.'
For a long time, the film business was a single-digit business on investment return. Now, because of home video, it's a low double-digit business, and the studios want to make sure it doesn't go back into the single-digit business.
You know, I think the film business is its own worst enemy because it sells movies on DVD footage and 'behind the scenes,' and now it's a real struggle trying to keep storylines and plotlines a secret.
I have always been focused on my job. No profession allows you the luxury of being half-focused. If you're not into it, you're not there. And the film industry is all the more harsh in these cases, perhaps because it's a business of the limelight.
I often find the smaller, independent films are much more rewarding than the bigger stuff, but you do the bigger stuff because it's a business, and you've got to show your face a bit, get yourself around.
I think one of the main reason's Rick Rosenthal and Whitewater PIctures decided to 'get in bed with me' on 'Fat Kid' was because I came in with a strong business plan as well as a creative vision on how to make the film.
Crime is interesting. It's huge and fascinating, and it's what my business, TV and film, is largely based on. But the realities are tragic, and in crime drama you rarely see the pain of bereavement or any consequences. It's reduced to a chess game.
Film making is an expensive, as well as a serious business. We should be able to entertain our audiences, who are fully aware of what they want. Every filmmaker has a different point of view and presents facets of society.
In our film business, they say it's recession-proof, but there's no such thing. I think what it's done is there's been an increase in demand for high-quality product. If you understand the business side of it, there's a way to balance it.
When we started NFL Films, there were no focus groups, there were no demographic studies, there were no surveys. Every decision that we made, we made with our hearts, not with our heads. And, in the very beginning, we really didn't even have a busine...
