When I came to New York in 1949, there was already an entire fresh avant-garde film movement blooming in New York and California. It was a very, very exciting period!
Actually I did, because I saw the film like everyone else, ten years ago and I remembered some of it. I just wanted to see it, to kind of remember the tone a little bit.
I feel that David took a risk with me. I have a sense that by starting off in the theatre and going off to do films you are seen to sell out in some way. I don't hold truck with that, but you can't stop people from feeling it.
Film and TV and stuff like that was something that I wanted to do when I was really, really little; like, I remember I used to do these plays with my cousins. We used to do Michael Jackson performances, and I would be Michael.
'Alien' asked ground-breaking questions about eco-politics and female empowerment. 'The Matrix' delved deeper into the concept of perception versus reality than perhaps any other film I know. But for some reason, we tend not to remember the significa...
You could get in rehearsals, pre-production, anything that would actually contribute to the understanding of how a film gets made. I actually find those things increase people's interest in a movie and like that better than worrying about showing the...
I need to react to a script, to feel strongly about it in some way. And I need it to be a complex character for sure. And also, I think a lot about what kind of audience there is for the film, what they're looking for and ways to connect with them in...
A lot of people that make films say, 'We need this kind of character. Who's done it before? Get them to do it again.' That is exactly what actors are pushing against. It's kind of a cliche to talk about being stereotyped in that way, but it happens.
It was just crazy opportunity to see that whole world and the competitions that we had in the film, like Long Beach, it was just crazy and so much fun. I felt like I lived all those moments in the movie.
We couldn't generalize on the people. Some of them were known to be tough guys and they didn't say much, but some of them were kind of soft-headed, but they did that. That was an East German film.
Fahrenheit 9/11 took public domain information that should have been on the news every night and put it in a film that a lot of people went to see. But still Bush has never had to answer those charges.
I have a feeling he felt Jon Voight had run away with the film, which he didn't, though he was brilliant in it, in a much less easy part. I just don't know what had got into him, but something had.
All I can say is that with 'The Golden Compass,' I didn't get to make the movie I had planned to make. When I look at the film, at the casting and certain scenes, I'm very happy. As for the final product, I can't vouch for that.
'Deep Red' (1975) is my favorite movie. The character David Hemmings plays is very much based on my own personality. It was a very strong film, very brutal, and of course the censors were upset. It was cut by almost an hour in some countries.
That's also why comedy and horror are my two favorite genres of film to write, because you get these outbursts of emotion from people, laughter and shock, and it's really thrilling, and I like to be thrilled.
Being the offspring of English teachers is a mixed blessing. When the film star says to you, on the air, 'It was a perfect script for she and I,' inside your head you hear, in the sarcastic voice of your late father, 'Perfect for she, eh? And perfect...
I'm reading scripts just like everybody else. Tin cup in hand, knocking on doors, trying to get a job. It's tough. They don't make as many films these days, and there's a lot of guys that are fighting for jobs.
Certainly, I've loved musicals for a while, so I did some short films in college that had musical numbers and things like that, so I've kind of been obsessed with Fred and Ginger and Vincente Minnelli and Stanley Donen and Jaques Demy forever.
What I've realized is that a film operates both on the intellectual and emotional levels, and if you can find a way to tell a riveting story and draw ideas out of that, it's very powerful.
Doing Tim's film is always going to be the most pleasure. Let me just put it that way. So, without drawing favorites one way or the other, getting back with him and doing Mars Attacks! was certainly a special treat.
So, it becomes an exercise in futility if you write something that does not express the film as the director wishes. It's still their ball game. It's their show. I think any successful composer learns how to dance around the director's impulses.
