Throughout my career, when I was finished with the drawing for one film I would go up to the story department and help develop sequences. Sometimes these were for scenes that I would animate later on.
Boy, there's nothing more thrilling than a chase. I'd often thought, over the years, that someone should do a whole film where it's nothing but a chase.
Part of me always longed to do just one more film and see what Luke would be like now that he's on the level of Obi-Wan Kenobi, the student having become the master. But it was not meant to be.
When I go to a film, you're taking it easy and you let things wash over you. That's what cinema's all about. You get involved in a world that's being created in front of you.
I give the spectator the possibility of participating. The audience completes the film by thinking about it; those who watch must not be just consumers ingesting spoon-fed images.
[on his satisfaction as an artist] In terms of cinema and filmmaking, there are certainly the unexpected gifts that the actors bestow on you. Film is always a question of compromises with respect to what you originally intended.
'Detroit 1-8-7' - the numbers are police slang for murder - is filmed in that blue-collar Michigan city, providing a flavor of authenticity. Detroit offers a unique visual landscape that tells the story of the city and what it's been through.
Nothing spooky or terrible happened on set, but we were told to say it had. We were giving a press conference and the writers were going on about these terrible things that supposedly happened while we were filming.
In France they spend six months training policemen, then they give them a gun and put them on the streets, and I don't know that that's enough. The film's not against the police - although I think that if someone wants to be a cop there's got to be a...
We take safety very, very seriously on every film I make, and that's why I've never had a serious accident or anybody killed when I make a picture.
I've always felt so grateful that I dropped out of school, that I never had to do a thesis. I wouldn't know how to organise and structure myself to film so that B follows A and C follows B.
My films don't have instant impact because they're dense with ideas that people have not thought about. It takes a while for the American public to wrap its head around some of the things I'm saying.
I did a cover for 'Rolling Stone' the other day and it was a kind of crazy lack of outfit. I thought, 'Oh, Lord. I'm never going to be Jane Austen in a film now!' 'Cause that's what I'd really like to do.
The memory of that scene for me is like a frame of film forever frozen at that moment: the red carpet, the green lawn, the white house, the leaden sky. The new president and his first lady.
I would be surprised if they gave Meryl Streep her third Oscar for a film as light as 'Julie and Julia,' although, of course, Katharine Hepburn's third Oscar came with a very light performance from her in 'Guess Who's Coming to Dinner.'
I've always played that edge of fact and fiction. I used to be a filmmaker, and certainly in film that's a line that filmmakers cross more readily and more easily than novelists.
The 3D world allows you to engage even more with a film because you're somehow drawn into the landscape or the universe of that scene. Even when it's two people talking at a table, you feel like you're a third party.
Working at night helps people focus in on this crazy little bubble you've created, wherever you are filming. It doesn't matter where the location is, the world doesn't exist outside this bubble. And everyone is trapped inside.
You look back on films sometimes and if they have not been as all-out successful as you anticipated you try to find reasons why maybe it didn't come off for audiences as well as you would have liked.
I went to film school at Columbia and did that for a couple years, and really thought I was going to be a filmmaker, and then I kind of drifted over to the acting side after that.
Theatre has always been better disposed to colourblind casting than telly or film. Given that most television is contemporary, and it reaches 56 million people, I am disappointed there still isn't more representation.
