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.
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.
I will say that comic books are not the easiest things to translate to film, number one. Even the most well meaning of filmmakers find what's acceptable on the printed page is very difficult to bring to film.
I'm not saying no to anything, at least as far as reading scripts. I don't care if it's television or films but, personally, I would say I'd like to establish myself more in film.
My favorite film score is the one Thomas Bangalter created for 'Irreversible.' The soundtrack absolutely defines the daymare-into-nightmare feeling you get from the film.
The Sand Pebbles has always been one of my favorite films, I suppose because its the most difficult film - from a physical and logistical standpoint - that I've ever made.
Many of my favorite films, if someone were to tell me simply what they're about, I probably wouldn't be that interested. Plot often has so little to do with what's at the heart of a film.
I'd like to do a number of films. Westerns. Genre pieces. Maybe another film about Italian Americans where they're not gangsters, just to prove that not all Italians are gangsters.
If people ask me, 'For you, what is your most important film?' I have a feeling that they all sort of want me to answer with one of the Bergman films. But I cannot choose.
The woman I'd want to meet the most is Nicole Holofcener. I've loved every single film she's done. I think her films are deeply comedic while being deeply disturbing and dark.
I have a hard time articulating the emotional experience of working on a film. Even when I have meetings on films or discussing them with directors, I find that's my biggest challenge. Different words mean different things to people.
The idea of making a film - a film that I had certainly never seen before - about the slave experience was a huge responsibility. It's a project that requires a wider understanding of the geopolitical nature of the slave trade, of historical and mode...
You would think, in an ideal world, that if you were in a really good film and did a really good job, whether it was a big film or not, you would get hired a lot; but that is not my experience.
