There are a lot of movies I'd like to throw away. That's not to say that I went in with that attitude. Any film I ever started, I went in with all the hope and best intentions in the world, but some films just don't work.
It was always something I knew I was capable of and from an early age my mother was involved in the film industry. She used to work at a production company. So I was exposed to a renaissance period of films in New Zealand back in the early 80's.
'The Quiet Ones' was my first film, let alone my first horror film, and I had so much fun. I had such a laugh, every single day. I look like such a feral child in it.
When you work on a Jerry Bruckheimer film, you can be sure of two things: no production value will be spared, and the catering will be as fine as any really really good restaurant. Jerry is an amazing producer, with a commitment to his films second t...
With today's fast films, you can light the way your eye sees the scene. You can abuse the film and create subtleties in contrast with light and exposure, diffusion and filters. That's what makes it an art.
You create a work of art. You do not know whether it will get public sanction. Sometimes outstanding films do no business, and sometimes films which are not so good work.
A book is one kind of an art form and a film is a different art form. I think as a writer you just have to say, well the book is one thing, and the film is a completely different one.
I started using film as part of live theatre performance - what used to be called performance art - and I became intrigued by film.
Independent film is almost nonexistent right now, because all the distributers that used to love to put out these little art films are all out of business right now, because it costs so much to open a movie.
I think there's escapist moviemaking, and we want to be captivated and taken away. If it's done right, you can craft an incredible film. There have been superhero films that I think are brilliant pieces of art.
An artist must either give up art or develop.
ANYTHING IN THIS UNIVERSE CAN BE A STORY WORTH TELLING, AS LONG AS YOU KNOW HOW TO BEST TELL IT.
Unfortunately for critics and audiences alike, I have made several films, and some films with really terrific actors. And I say this at my own peril, but Marion Cotillard is the best actor I've ever worked with.
If two of your films don't do well, people say you're out in the cold and your career is over. One film does well, and you've had the best year of your life! I don't believe in all that's written.
For seven years, I made films in the cinema verite tradition - photographing what was happening without manipulating it. Then I realised I wanted to make things happen for myself, through feature films.
They say now in America that final cut doesn't mean anything. As Harvey Weinstein said to some film-maker, 'You can have final cut. I'll open your film in Arkansas.'
'Raiders of the Lost Ark' made me want to make films. I am wild about the films of John Carpenter, Ridley Scott, Howard Hawks and Sam Peckinpah.
I've shot films in locations that have seemed haunted. I shot a film in a maximum-security prison in Russia. Part of it was on a psychiatric ward - there were definitely some creepy vibes there.
The most frustrating part of working in TV and film is that you have to convince someone to let you make what you want; in comics you can do whatever you want and for 1% of the budget of TV and film.
Each performance and each film is what it is. It's right and belongs within that moment. You look at it and try to make it fit your particular part of your character and your particular film.
When I started in the late 1950s, every film I made - no matter how low the budget - got a theatrical release. Today, less that 20-percent of our films get a theatrical release.
