After studying in Sheffield, I went down to London to do my post-graduate degree at the National Film and Television School, embarking on the movie that would eventually become 'A Grand Day Out.'
Then all of a sudden, Quentin Tarantino comes along and puts a song from 40 years ago in one of his films and they've suddenly discovered you. That was a real gift that Quentin gave me.
I think television scripts have become really intriguing and well-done. And writers have stopped drawing any actual line between film and television they used to never cross.
The only way to ensure a film is going to sell is put Will Smith in it and you open it in 3,000 theaters and make sure we have all the top promotional spots in each venue.
Every actor has to move in a Terrence Malick film - that's the requirement. If you stop, he'll tell you, 'No, no, keep moving.' You can't be static. It's a choreography.
I never seek controversy or foresee it for my pictures. I take a personal stand, and perhaps because my films are on contemporary subjects, people do not share my point of view.
This character in the film, these things that he says which sound like advice and wise things, they are very common for Orientals. It's all the tradition.
If everyone worked with wide-angle lenses, I'd shoot all my films in 75mm, because I believe very strongly in the possibilities of the 75mm.
The first thing one must remember about film is that it is a young medium. And it is essential for every responsible artist to cultivate the ground that has been left fallow.
I don't miss scenes at all the way that I used to miss them when I was younger making a film. It's actually quite fun to get rid of them now.
Action films can be like watching paint dry. You can just die in the trailer waiting for them to set up a shot, then you go out for a few minutes or an hour of endurance testing.
When it comes to remaking my own films in the English language, I can only imagine that it is a very boring process, I wouldn't ever dream of it.
I don't think there is really a favorite, I'm very fond of film making as a whole and as a medium and of course, there are some that I've enjoyed making more than others but I've enjoyed making all of them.
Films can be entertaining without shying away from exploring something. They can be magical and have fantasy, but also can have enough reality that you can be really emotionally invested.
It's weird - on almost every film I've worked on, the first sequence we storyboard ends up being the first sequence that goes into animation, and ends up being almost shot-for-shot the same.
Each one of the films get built up and strengthened and reinforced, and we're not afraid to rip stuff out and redo it until we feel it's worthy of the 'Pixar' name.
The juggernaut that is steampunk, like Dr. Loveless's giant mechanical spider in the 1999 film version of 'The Wild, Wild West,' seems capable of crushing all naysayers.
I think of myself more as a filmmaker or as a film person than as strictly just a writer. I don't come out of playwriting or anything like that.
Film is an emotional medium; it's not a logical medium. It's not an intellectual medium, so every decision you make as a filmmaker and an actor has to be emotional in some way, even in the rejection of logic.
I just figure if you have a modicum of celebrity, you need to use it, and you need to use it for more things than just promoting yourself or your film or your image or your product.
I'm a filmmaker, and I was most influenced by Hitchcock's films. How he could plant such deep enriched characters and then make us care both about the antagonist and protagonist was masterful.
