I do it because I love acting, I love working, and whether it's radio, television, films, theater, I don't care as long as I can get out there and do it.
I love these movies where it's just about the film. You don't have my face on the poster. It's all about the movie. I like that.
The idea of doing a children's film is different, but quite honestly I like doing anything - any genre. I've only made one Western, which was 'Three Amigos,' but I would love to make a serious Western. I'm just wide open.
I really enjoy the consolation when I'm having to cut loose stuff I love, of saying 'Well, at least it will make it onto DVD.' There's a couple of scenes which I liked very much, but couldn't fit them into the film that are on there.
After filming, I can't wait to shake off all that '50s primness. I'll go out to a gig and dance ridiculously. I love to lose myself in music. Just letting go - it's dead important.
I'd love to do films, but I'd feel bad in my gut if I did anything just for the money. I want to wait for something I'm really passionate about, even if I don't work for a year.
One of the reasons I love to jump back and forth between mediums is that film does allow me to be more literal. I can go to the real place. I can go to the Coliseum, and I don't have to fake it.
Acting was merely a pastime; I wanted to make films. But theatre, ah - now that was a labour of love. Can there be anything better than performing without retakes and cuts, in front of people you can see, hearing them breathe in the darkness of the h...
And so I love films that are kind of rural in atmosphere. And you know, it's just a nice place to be day after day. All be it, it can be hard, it can be hard work. You can get hot.
Regardless of what people ultimately think about Crazy As Hell, It's not the type of film that, ten minutes after seeing it, you're only focused on what you want to eat.
I wasn't one of those girls who always dreamed of being an actress. I went to a normal school and then these film auditioners turned up when I was nine. Then I just fell into this whirlwind.
I know that if a film is ready to emerge out of what I write, I'll be able to go off and make it without asking anyone's permission.
I did 'The Grey,' and it was very intense and emotional because we're in the wilderness, and it was always 30 degrees. You kind of lose your sense of reality in the fact that you're filming a movie.
I don't think you can ever completely transform yourself on film, but if you do your job well, you can make people believe that you're the character you're trying to be.
I went to Washington to ask for a little residual payment for the people who had written films in the early, early days, people who never got any residuals on tapes or anything at all.
In a lot of films, they're showing more complete, developed characters of diverse ethnic backgrounds. The larger concern is to be able to tastefully explore the stereotypes, and still move past them to see the core of people.
I did a lot of terrible TV shows and was really terrible in them, and I've done terrible films I was terrible in, but nobody really noticed.
Following 'Urumi,' I did get a lot of offers from Malayalam, but frankly, managing films in several industries can become a little hectic. So I decided not to take them up.
First of all, you look at Rocky films now, and if that isn't a cartoon series there isn't any cartoon series. I mean there's no way anybody is going to take that amount of punishment in fifteen rounds.
Normally, if you're lucky, the idea of a film you have in your head is more or less what you get back when you see it after the editing and the whole post-production process.
Stage actors are usually much more conscious of speaking up and making sure that everyone can hear in the back of the theatre; a film actor probably thinks of that a little less.
