There are some sequences in films that I think work filmicly, that stand out to me, but that's much more to do with the staging and the cutting and the mood of the thing as a sequence, the way everything comes together.
And although I've been very fortunate in the film work that's come my way, I need to get back to the stage. If I'm away for a maximum of two years, I feel something's wrong.
A few years ago, when I had no work and started believing that films weren't a viable career, I thought of finding another job. I started training and riding horses and got consumed by that. It was a boon in disguise.
If you wanted to watch me work, it would be totally boring. It would look like a Warhol film where nothing happens. I sit for 24 hours, then I scratch myself.
I would not want to be a part of any project that I feel would not work. An actor like me always wants to work to get appreciation of the audiences. And appreciation can only come if people will come to watch the film.
I'm happy that people have loved my film and my work. I have always let my work do the talking, and I guess I have proved to my critics that I'm not over.
Most theater methodology is predicated on the idea of repeated actions. That's what you work toward. Having the actor repeat the same moment eight times a week. In a film, it's getting that one moment right.
We've evolved from sitting back on our tripods and shooting wildlife films like they have been shot historically, which doesn't work for us.
My goal as an actor was to work - to be a working actor, whether it was in theater, and, well, I didn't even consider film and television when I was in New York, but what came along, came along.
I think one of the blessings that I've had in watching, you know, films be made now from four of my books is to realize that it's a separate thing. It's a separate work.
Despite a large body of work in films, TV, theatre and concerts, I am viewed by many as a Jewish artist. I do not resent the label, except for the fact that I disapprove of labels in general.
I get so tired of people saying, 'Oh, you only make fantasy films and this and that', and I'm like, 'Well no, fantasy is reality', that's what Lewis Carroll showed in his work.
I just want to keep writing characters who are interesting and complicated people and interesting roles for women, in TV or film or in theater. I think that's like my 'Blues Brothers' mission.
I know how gratifying it is not only to work in film but to be acknowledged by peers; producing '9 to 5' was an opportunity that I valued precisely because it's so rarely in the hands of women.
I definitely am drawn to strong females who are successful, smart women because I am a woman like that. I think it's important to portray those kinds of women on film and television.
With journalism, films always have to be to do with some personal statement of your own. As a general rule, I resist that. In the States, a question that kept coming up was this: 'How can you, as a man, talk about three women?'
With Vietnam, the Iraq War, so many American films about war are almost always from the American point of view. You almost never have a Middle Eastern character by name with a story.
Mr. Reagan spent World War II, the global conflict fought and won by his generation, making training films in Hollywood.
In the modern industrialized Western world, where I come from, the person whom you choose to marry is perhaps the single most vivid representation of your own personality. Your spouse becomes the most gleaming possible mirror through which your emoti...
The ultimate goal of the resistance movement is a planet not just living, but in recovery, growing more alive and more diverse year after year. A planet on which humans live in equitable and sustainable communities without exploiting the planet or ea...
There is an efficiency inspired by love which goes far beyond and is much greater than the efficiency of ambition; and without love, which brings an integrated understanding of life, efficiency breeds ruthlessness. Is this not what is actually taking...
