I'm not making films for middle aged journalists, who are mostly men. I make films that hopefully entertain people, where they can learn something about life.
I acted in theater and I took film classes when I was 12 and just obsessed over it. I loved it and spent hours and hours in the film studio learning and watching.
I used to love going on a junket and promoting a film when it was not a 24-hour news cycle, and when there weren't so many media outlets. You could actually talk about the film.
I would love to produce a film. I have written a script and am in the process of writing another, so maybe it will happen down the road. I would love to do a film in Africa.
My brother knows more about film sets than I do, because he works at New York Film Academy.
My agent in London says all New York films are wonderful if they're really New York films because they're like travelogues.
Clearly any film company that makes a film is always going to talk about sequels particularly if they see something as being successful, which Werewolf was.
You know, I grew up watching all kinds of films. So, as an adult, I wanted to be involved in all kinds of plays and television and film.
In Iranian cinema, all the lying takes place before making the film. In order to be able to make the film, you have to lie.
Normally, when people compose for film, you give them the film, and they look at it, and they compose it.
Artist Matthew Barney has made a film about “shit”. It is hardly original. Hollywood has made shit films for decades.
When Walt Disney was making his films, he trusted his instincts and made films for himself, but they appealed to everybody, not just kids.
If you make a film normally it's all right, the distributors are helpful and cooperative. But if you make a film that's a little stange, a little bizarre, then all the time it's a struggle with them.
Early on everyone should do, every time they do a big film, they should do a little film. It really does keep you grounded.
Luigi Castigliane: This is the girl! Adam Kesher: Hey, that girl is not in my film! Vincenzo Castiliane: It's no longer your film.
I think the situation in Toronto is such that there are funding organizations which make it easy for a film to raise more money than it needs and very often that works against a film.
There's very few people who want to just make beautiful films that make money, when they can make films that make huge money.
The thing that fascinates me is that the way I came to film and television is extinct. Then there were gatekeepers, it was prohibitively expensive to make a film, to be a director you had to be an entrepreneur to raise money.
I'm not a writer. I think I can write short stories and poetry, but film writing, brilliant film writing, is a talent - you can't just do it like that.
I never would have guessed I would be making science fiction and horror films.
The effort always remains that my new film outdoes my last in terms of performance and gets better box office success. Box office is the sole reason why I do films.
