In my films that I've directed, and my work in commercials and videos, I've rarely used handheld. It's just not something I'm drawn to, but I've seen it done very well.
When I was young, 'Scarface' was my favorite film. Al Pacino is my hero. I want to work with him.
I seek speed, clarity, and a practical approach in people I mingle and work with. I can't see myself working in films that stretch beyond maximum four months.
For films, the process is that you work consistently and constantly for 3-4 months and then leave; whereas for a play, you prepare for about a month and then continue performing it for 5 to 6 months.
I mean, the only thing that matters to me is getting to the work - getting to do the work. And I don't really care where it is: whether it's on stage or on television or in film.
I come from the theater, and I've done a lot of character work in the theater, but Hollywood stuff in film and TV, they've been more leading lady/ingenue type roles.
The system in Germany is different, as you sign up with a company for two or three years, and you work exclusively with them; you can't do any film work on the side.
I work very fast and steadily, and I don't hardly ever notice that I'm working. It feels like just breathing or walking when I do films.
I think that the audience wants to see women being put into real situations where they can relate to them, rather than seeing some glamorous woman in a 'Bond' film.
I applaud Women in Film - not only for celebrating the successes of women, but for providing a safety network to mentor women and to discuss the particular issues that arise in a very male-dominated industry.
What I think is wonderful is that women are not just avengers or victims in films. They are people. They are characters. It's so refreshing. They're playing different kinds of characters, and they aren't being typecast.
War is chaotic and when you start having a larger scale film and you have a lot of safety protocols and choreography, I would imagine it becomes more difficult.
Watching Jaws just scared the living daylights out of me when I was young. I know a lot of people my age who are still petrified of sharks because of that film.
I was getting offers. I had just turned them down. Then I realized I should be grateful that at age 54, people were still offering me film roles.
What I felt at that time - we're talking about '61 - was that I couldn't remember seeing a film that reflected the age we were living in.
And I'm hoping that over the next 20, 50 years, whatever, the mystique of television and film and all that will diminish somewhat, and people will leave us alone to get on with our jobs.
I have a lot of favorite films. I tend to love the silliness of 'Bringing Up Baby.' 'Charade' is fantastic. 'His Girl Friday,' the banter in that, that alone made me want to be a writer.
But one of the amazing things about documentary is that you can remake it every time you make one. There is no rule about how a documentary film has to be made.
'Beatrice Cenci' was an amazing film. If it were released today it'd win Best Picture. It's so well done, it's so contemporary, and the filmmaking is so smart.
Everyone feels a sense of ownership in creating a Lynn Shelton movie. Lynn chooses amazing people - including the crew. Every person there is committed to making the film the best it can be.
I'd love to do a film with Michael Fassbender. He's one of my heroes. I think he's absolutely amazing and I would love to do a project with him.
