If you mention any ideological thing about shooting 'Last Tango in Paris,' I was thinking I was doing a political film.
I am astonished and surprised that someone could consider making a film about me without talking to me about it.
As I became very defined in my personal politics, I turned down some films that I slightly regret now; I'm not going to say what they were.
I know that a lot of people take inspiration from the fact that I was just a common man with no film background who turned into a star.
I was thinking of going to London drama schools or to New York, because France didn't accommodate the things I wanted to do in film.
Rather than spend millions getting film stars, I am quite happy to be brand ambassador myself.
Nothing's better than coming away from a film when people don't even recognize you, because you've undergone a total transformation.
People are so wonderful that a photographer has only to wait for that breathless moment to capture what he wants on film.
Also, there are now new laws in Brazil which create incentives for Argentine and Latin American films to be premiered and distributed in Brazil and vice versa.
For me, personally, I'm usually not on my phone that much. I prefer listening to old radio shows and watching foreign films than tweeting.
We shot 'High School Musical' in eight weeks. I spent longer rehearsing for 'Hairspray' than filming 'High School Musical'.
Amanda Bynes and I have become close since filming 'Hairspray.' It's so weird because I grew up watching her.
With 'Girls,' it doesn't really feel like I'm doing TV specifically. It just feels like we're making a really long film.
You have kids studying master class visual arts who are pushed to make films that will be successful economically; that's what they focus on. So they work for corporate interest instead of artistic expression.
I kind of always think my work is unfilmable, and when I meet people who are interested in filming it, I'm always stunned.
I think you've got to talk to the director, see the director's films and recognise that it's important that the work fits right in and see if as part of the movie.
How mad would it actually be to do an 'Avatar' type animation film, but about something mundane like a Winn-Dixie cashier's day at work? That'd be something else, I think.
I wanted to work on this central problem of killing. How you go about killing. Now, in the film I had to kill my children - well, I didn't want to get that far.
I've dealt with Hollywood about having my work made into a film or cartoon but nothing came of it. That's not to say I wouldn't like to see something happen.
None of the films I've done was designed for a mass audience, except for 'Indiana Jones.' Nobody in their right mind thought 'American Graffiti' or 'Star Wars' would work.
I could never have conceived that I would ever get to work in a Truffaut film. It was astonishing to me, and still is. I felt like an old pro, but it was still so unexpected.
