I'd been a Bond girl and in Dracula films and 'Coronation Street,' but I was always hunting for work. After 'The New Avengers,' I never had to wait for work again.
I gradually work myself into a frenzy as the shoot approaches, while we're choosing the costumes or working with the make-up artist. I'm not so much interested in my character as the film itself.
When you're filming, you work 19-hour days, and you know more about what's going on with your crew and co-workers than you do with your husband.
I'm not expecting much work in Hollywood, to be honest. People stick to film because they tend to get offered the same roles over and over again, and it's safe. But I'm not interested in doing that.
One of the worst things you can do is have a limited budget and try to do some big looking film. That's when you end up with very bad work.
I became a real Shell Motor Oil expert, and I did this 25-minute film. It turned out really well and, as a result, they offered me more work and lots of commercials to direct.
I always take hundreds and hundreds of pictures. I used to work for 'National Geographic,' and they gave us a lot of film.
In all the horror films that I have done, all of those women were strong women. I don't feel I ever played the victim, although I was always in jeopardy.
I did things like Shampoo and Heaven Can Wait. I don't know what those films were about. The women I played in them were not very empowered.
I find more interesting roles for women in period pieces. I do personally like watching period films; I think you can really get lost in the fantasy of them.
It's not just about young people - there are films being made that deal with women getting older. That's a huge bonus, and here in America, that's a huge step forward.
My interest in Women in Film came from attending the Crystal Awards in 1998 where Meryl Streep and producers Gale Anne Hurd and Lucy Fisher were honored with the annual award.
I think the roles in television are better for women right now. At this point, I don't want to continue doing the same things I've been doing in film because it's very limited.
I feel more comfortable doing films with groups of guys. It's a lot easier for me. There's a difference with women: you can't take them to dinner every night and go crazy.
We make, see, and love films, not digitals. To convert all of our movies, home videos, theaters, photographs and television to digital would be like telling a painter to throw away his brushes and canvas for an I-Pad. Celluloid isn't just nostalgic, ...
Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, cl...
I have a real taste for doing action roles. I starred in a movie called 'Blast,' which was my first action film, and I loved the fighting - I think I've got the build, the attitude and the look for it.
I film quite a bit of footage, then edit. Changes before your eyes, things you can do and things you can't. My attitude is always 'let it keep rolling.'
It's not the same thing to make a work - a film, a book, a play - about youth as it is to make one about old age.
The evolution of Parkour sort of happens with time and age as you change, and the body has a certain memory of Parkour. There is a sort of thing that remains intrinsic, but then the choreography will adapt to whatever the necessity of each particular...
In 1969, at the age of 19, I was lucky enough to work with George C. Scott in the definitive portrayal of his career over a period of many months and several countries on the definitive film version of Patton's WWII career.
