I'm not a massive fan of 3D. I've seen some good 3D, and I've seen quite a lot of bad 3D. I think if a film is created for the shock effect of 3D, then it's a certain type of film that I'm not massively bothered about.
That's why I'm really trying to produce my own stuff. This film was so good, because I produced it myself, and developed it, and made it with New Line, which is a smaller studio, so I was in control of a lot of stuff that I wasn't in control of for m...
I gladly, I voluntarily gave up the kind of commercial film career I had going as soon as I had enough money to finance my own films.
It's so funny because the roles that I've been offered in the indie film world have been similar to each other, and the roles that I've been offered in the TV world have been similar to each other, but the TV roles and the indie film roles have been ...
'Beyond the Lights' was my fourth film. I gained a lot of knowledge, and I'm excited to share that with young filmmakers because I know how lost I was coming out of film school with that question of 'What's next?'
I love films that make me react emotionally and physically when you walk out of the cinema. Two of my favorite films however have got to be 'The Tree Of Life' and 'The Piano Teacher,' which also stars one of my favourite actresses Isabelle Huppert.
I've always had the perspective that roles come into my life when I need them most and sort of teach me lessons. The same can be true of films, films are released into society to aid in a lesson, inspire people, comfort people.
'Faces' became more than a film. It became a way of life, a film against the authorities and the powers that prevent people from expressing themselves the way they want to, something that can't be done in America, that can't be done without money.
I don't really expect much from my life. So when I heard my films are premiering in film festival circuits I was glad of course but I thought it was lucky accident.
I was never a big fan of horror. I got into it making these films, but I don't ever see myself doing slasher movies. The kind of horror film I like is 'The Shining.' I don't really like slashers, but I love thrillers with tension.
I love films where you go into the cinema and loosen the edges of yourself and you hopefully enter into the world of the film. You're watching something unfold before you. I prefer the idea of wonder or intense wonder over shock or something.
I went to Lunenburg, when we were filming there, and I was like, 'We can't film anywhere else. This place is perfect. It is 'Haven.' It's absolutely beautiful. That town is eye candy.
Well that's the point: People don't normally take away things from films anymore. You go and see a $100 million film, half an hour later, your biggest concern is what are you going to be eating.
I can watch a film, even a film that I've been in, and think, 'I'm not sure, 100 percent, what I think about it.' I'm not sure what I think about what I've done in it.
My grandma was really sick when I was working on 'Sin Nombre' and eventually died that summer when we were finishing the film. But I was able to bring an unfinished version of the film for her to watch.
I like L.A., but I think what's changed is that the kinds of films I do, the mid-range dramatic film, has become an endangered species.
I made 'Batman' the way I made every other film, and I've done it to my own satisfaction - because the film, truly, is exactly the way I wanted it to be.
I didn't have a lot of independent film connections. It really took until the digital film revolution came along that I realized that I could do it myself.
As long as a film stays unmade, the book is entirely yours, it belongs to the writer. As soon as you make it into a film, suddenly more people see it than have ever read the book.
Once you have made the decision to do the film, once you have identified the desire and all the deep and personal, intimate, artistic reasons why you want to do the film, then it's more a matter of how to do things.
The things that I've done that have totally been remembered, they've always started with the same kind of engine, they've always started with someone saying 'I have to make this film - I'm going to make this film whatever the odds'.
