When you make a film for a million and a half dollars and it opens at 20 million, the next question out of everyone's mouth is, 'When's the next one, when's the next one, when's the next one?'
Western civilization shapes the content of my films, provides me with subjects that haven't been used before.
I'm a big fan of British cinema; I think we make some unbelievably brilliant films, but they can quite often have a dark feel.
I did a film called 'Fort McCoy,' based on a true story of one of the few internment camps during WWII that was actually in the United States.
As we watch TV or films, there are no organic transitions, only edits. The idea of A becoming B, rather than A jumping to B, has become foreign.
A short film is just another storytelling medium like TV, Features, and Webisodes. I am just thrilled that 'Silent Cargo' is getting out there for people to see.
I realized I probably wouldn't make another film that cuts through commercial and creative things like 'Godfather' or 'Apocalypse.'
I always found the film world unpleasant. It's all about the schedule, and never really flew for me.
Ten Days That Shook The World, by Eisenstein, I went to see it, and I was so impressed with this film, so impressed with what cinema could do.
I came from the theater playing leading roles, and when I started doing film and television, I felt as if I had to start from the bottom.
I always wear the shoes of the character a week before going on set; the idea of just putting on a new pair of shoes on the first day of filming is just horrific.
I mean, horror films in general put humans in these awful supernatural or horrible situations, but 'Cabin In The Woods' cranks it up a few notches and becomes outrageous and totally bizarre.
The only way you can continue to make artistic films is to make an occasional one of those. They kind of keep your marketability going to the extent that people will employ you.
It's not about an opening weekend. It's about a career, building a set of films you're proud of. Period.
I'm a Method actor. I spent years training for the drinking and carousing I had to do in this film.
Yeah, there was the Flora Plum thing, where I trained for about a month and I had taken a semester off for that, and two weeks prior to filming, the financing collapsed.
I feel like if a film is well-written, then the character's arc is complete. There really is very little room to expand on that afterwards.
I prefer thrillers but when it's thriller/horror, I like it. The gore is not very important to me, I prefer suspense. But I like dark films.
It's a treat and daunting to be directing someone like Judi Dench, who's made more films than I'll ever make in my lifetime.
I've done lots of songs for film soundtracks and things like that - stuff I'm not ashamed of, but that doesn't represent my legacy with the Pretenders.
There is a sort of theory that you should adapt bad books because they always make more successful films.
