For seven years, I made films in the cinema verite tradition - photographing what was happening without manipulating it. Then I realised I wanted to make things happen for myself, through feature films.
They say now in America that final cut doesn't mean anything. As Harvey Weinstein said to some film-maker, 'You can have final cut. I'll open your film in Arkansas.'
'Raiders of the Lost Ark' made me want to make films. I am wild about the films of John Carpenter, Ridley Scott, Howard Hawks and Sam Peckinpah.
I've shot films in locations that have seemed haunted. I shot a film in a maximum-security prison in Russia. Part of it was on a psychiatric ward - there were definitely some creepy vibes there.
The challenge to me as a director was for the audience to see the film as going on in a straight line, so that they did not sense all of these break-ups. I did not want a film to be a collage of all these images.
The most frustrating part of working in TV and film is that you have to convince someone to let you make what you want; in comics you can do whatever you want and for 1% of the budget of TV and film.
Each performance and each film is what it is. It's right and belongs within that moment. You look at it and try to make it fit your particular part of your character and your particular film.
When I started in the late 1950s, every film I made - no matter how low the budget - got a theatrical release. Today, less that 20-percent of our films get a theatrical release.
I ideally would like to do three films every year. Every day, I pray for it. But I should like a script before I sign on a film.
I'm in the process of working out an arrangement to make some very, very, very small films in the midst of all these films and maybe that will help. But you get tired of talking. You just want to do it.
At Temple University, and I'm sure this was the way in a lot of film classes, comedy was not an option, and not considered a serious form of expression. You had to make a film about an issue.
Some films clearly seem to divide people. And I do think there's something incredibly exciting about the commonality of us as human beings, which some films are lucky enough to tap into.
When we were filming 'Twilight,' we didn't expect anything. We were just filming a movie that we wanted the fans to enjoy. And then it kinda just blew into this whole other world.
There are different sides to me; I wanted to make a personal film but I would not want to make any film that does not reflect me in it. At least, not right now. I'm just too young to be doing that.
We did this film in 13 days, mind you. And 13 days is not very long for a feature film. Nobody in their right mind would argue that. Nobody in their right mind would do that.
If you make a film about a pig farmer in Wales and you are a huge hit as the pig farmer's wife, the next thing is you'll be asked to do a film about a sheep farmer in Scotland.
People use location as a language in films, and Quentin uses action as a language in his films. There's really not a lot of violence. It's more of an emotional beat than it is a physical beat.
Film, theater and television always kind of scared me. I don't ever seriously think of myself as an actor at all, and I don't plan any film career or television career.
There's something that people misunderstand about screen quotas. It's not about rejecting or hating other countries' films, but about protecting our domestic film industry.
This film is what it is. It's a campy thriller horror movie where you go and have fun. With these types of films, you can't take it too seriously. They are what they are.
Television has dried up for my generation, so it's plays and films. You get used to being lazy doing films, but classical theatre's going to finish me off.
