I think I had more freedom when I began making films. I did not know what could not be done. I was naive. I did what I wanted to. As you gain awareness, you start losing freedom.
I get asked, 'How can you have such failures in your films?' Well, what else is life about? There's some sense of constant failure in something. Humor gives you a distance from it.
I have a really great family, and when I'm not filming, I go home and walk the dogs, take out the garbage, clean my room, all that stuff. My family and my friends keep me in line, and make sure I don't get crazy.
When I did 'E.T.,' it sort of solidified the only family I know are these film crews. These gypsies. These filmmakers. That was the solidification and the clicking revelations of 'This is what I want to do with my life and this is where I'm going to ...
If you think about it, a lot of great horror films have bad sequels just because the market demands you to make the other one right away. Thank God no one in the 'Evil Dead' family thinks that way.
When I came back from filming 'Abduction', I told my agent: I'm staying in London now. If it takes doing children's theater from the back of a van in Kilburn, that's OK. I need to be with my family. My job is to keep the family together and provide f...
'How to Train Your Dragon,' the first one, was a film I'd seen prior to being approached for the sequel. I don't often watch family animated movies, but it's one that I loved and thought was really well done: beautifully crafted storytelling.
I've just been more interested in doing film right now and I don't want to go away from my family for six months, which was what I would have had to have done if I did the play on Broadway.
I'm not going to live my life unhappy and why should he and we talk about it and I think what's great about the film is that it shows is the meaning of family doesn't have to be as traditional as it once was, like you can make a family.
I know my audience, and they, in turn, know my cinema. When I pick a subject, it's for a family audience. I shoot and edit my films keeping them in mind. I'm dead sure about the product that bears my name.
My father was a certain kind of man - I saw how he treated my mother and his family and how he treated strangers. And I vowed I would never make a film that would not reflect properly on my father's name.
A woman can be very beautiful and an ideal model and she will photograph incredibly well, but she'll appear in film and it won't work. What works is some fusion of physical beauty with some mental field or whatever you call it. I don't know.
It's hard to make a living in this business. Unions aren't as strong as they used to be. For a journeyman actor - someone who doesn't have a famous name but has consistent work in theater or film or TV - it has become harder to get through, harder to...
I never lost my interest in acting but I did lose my interest in the business and what I had to go through to make a film. I felt saturated, you know, like a sponge when it's saturated - it's not good.
I think the movie business and film crews are a little bit like the circus, in that we travel around like a pack and we're a big family for a finite period of time. We roll into someplace, cause a bunch of damage, and then roll out.
I don't mean to sound - I don't want it to come out funny, but I don't like show business. I love - I love acting in films. I love it.
It's a very good time for horror. This business certainly has changed, but there's still room for serious horror films. Look at 28 Days Later, that's not a tongue-in-cheek picture.
Yes, I would love to play one of the leads in one these movies and have all those challenges and deal with all those complications, but the business being what it is, there is a slot for me in these kinds of films, so I enjoy them, and I enjoy the pe...
All of us have read the stories about young people in Hollywood and all the challenges they have to confront there, and I think that artistically, I really didn't understand the commercial side of the film business, so I went back to a purely artisti...
I've never seen a theater community to rival that of Chicago. Neither New York nor L.A. has the raw talent or integrity that Chicago theater has, and I think it's because Chicago doesn't have Broadway or the film and TV business to distract it.
The reality is that every movie is a new business. Nobody says, 'Hey, let's go down to the Pantages Theater, I hear a Warner Brothers picture is playing there.' Or, 'Let's go to this theater, I hear the film came in on budget.' It'd be ridiculous.
