'Performance' gave me doubts about my way of life. Before that, I had been completely involved in the more bawdy side of the film business. But after that, everything changed.
Japanese horror films take the business of being frightening seriously. There is no attempt at postmodernism or humour. They are incredibly melancholy, with a strong emotional core, while remaining absolutely terrifying.
Films are hard to make and I think the word indulge really leads one to believe that it's an easy sort of business and it's really extremely difficult.
I studied business and also studied film, then I graduated, and I worked at a network. I was able to use my business skills there - I was an associate producer for a little bit.
Knowing what I do now, I don't know if I'd ever have the balls to go to film school, with no connections and no knowledge of the business side at all.
Our film examines the heroism, courage and prowess of the Soviet submarine force in ways never seen before.
It's truly gratifying to see my films reach beyond a familiar public, to get a chance to move new audiences. It's nuts. It's extraordinary.
I'm not seeking out genre films, but this just came my way, and Miramax was good enough to add a role for me because we wanted the chance to work together.
It perhaps has a chance, a commercial chance, this film. It's funny, it's charming, the idea is original, it's unusual and it makes fun of the movie industry in a way that it needs to be poked fun at.
I'm so critical of myself. I'm actually really, really proud of the film. It's really cool to see a movie at Sundance because everybody is so supportive.
I love working with young people and young filmmakers, and I love working on first films. I think it's cool. It's fun. I just take it as it comes.
I've never been a part of a film before that offers such a platform into real issues, that raises social awareness and has the potential to change things.
No one's ever going to make a PG-13 animated film unless David Fincher executive produces it and puts it out on Netflix, and then if it's a success everyone will change.
Some people say that they read the first 20 pages, and then decide if they want to do the film or not. But, I have to read the entire thing 'cause anything can change in a script.
I came home for a week after I finished filming 'Rambo' because, after being in the jungle for three months, all I wanted to do was walk in the Highlands.
Why should people go out and pay money to see bad films when they can stay at home and see bad television for nothing?
I don't feel despair because I am able to make the films I want to make, and that gives me hope.
My hope is that people will be repulsed by the character's complete lack of ethics and obsession with consumerism - that's what I was saying about the difference between the character's message and the film's message.
One of the biggest mistakes a photographer can make is to look at the real world and cling to the vain hope that next time his film will somehow bear a closer resemblance to it.
I am not well educated or bright enough to be politically clued in, but I hope in the film that I'm going to shock a few people, win a lot of people over.
I guess, you make a big studio film, you spend a lot of money on it and you hope people go see it. It's really risky.
