I was honestly a cartoon kid. I loved cartoons. That was more my dream than anything else. But now, it's the films of people like John Cassavetes and Gena Rowlands. Those are the kinds of characters I want to play, and that's the kind of filmmaking I...
The deal is that you can do it, you don't really owe me anything, but at the end of it, I own the film. Then I can actually go out and reprint or not reprint if it I want.
As a producer you have creative control, and that's what is so exciting about it. At the end of the day, if you have made a film it's totally your responsibility, and if it works it's your responsibility and if it doesn't it's also your responsibilit...
I don't feel the obligation to have a big explosion in the first 20 seconds so the audience doesn't turn on another channel. We are trying to make something that looks like a feature film that was bought for television and I think we are succeeding.
It's pretty easy to make a film in China. A few years ago I just walked into the office and let them know I wanted to make a movie called 'Red Cliff' and they were so excited. They said, 'Let's do it!' It's that simple.
In 1913, the noted German actor and director Paul Wegener was making a film in Prague when he heard the legend of Rabbi Loew, who created a golem to protect the inhabitants of the Prague ghetto from persecution.
When James Cameron brought me the script, which I developed with both Cameron and Jay Cocks, I wanted to make it a thriller, an action film, but with a conscience, and I found that it had elements of social realism.
I did not see myself as a leading lady. I thought I was really funny-looking and I would never be the lead, and I certainly would never do film or television. I wanted to do theater. I wanted to be the grand dame of the American stage.
It was 1953, and I was still at school. I'd borrowed a silent French film from the library for my 9.5mm projector. It was by Jean Epstein, and it was awful. So I rang the library and asked if they had anything else. They said they had 'Napoleon Bonap...
If you swap it about, do television, theatre, film, you can go on surprising yourself. The problem is you get employed to do something you've already done. They want something from that sheep pen of performances they've seen you do.
I always ask myself one question: what is human? What does it mean to be human? Maybe people will consider my new films brutal again. But this violence is just a reflection of what they really are, of what is in each one of us to certain degree.
You're a professional. You don't need for me to break a film down for you. If you want to stop the guy you're playing, they pay you millions of dollars. You get you a TV and break the player down yourself.
I've definitely become more aware and conscious of what directors I'm working with because it's so important. The director is really more than half the battle of the film. You really rely on that. That's become really, really important to me, for sur...
My friend once sculpted me a bust of Admiral Ackbar from 'Star Wars.' He's my favourite character in the films after Han Solo. He's that goldfish-type alien in the white costume. 'It's a trap!' I'm a big geek.
Maybe because I didn't have a huge film career right off the bat, I've been able to create something different, which is so important to me. That's myself, my idea of who I am.
I come from the theater and I plan to always do theater. So I don't really see myself not being able to act even if people don't think I am sexy enough for film at 40, I'll still be acting.
I was starstruck and completely confused; making a film of this story hadn't even occurred to me, and I hadn't written a single line of the book yet. I had no idea how this man knew anything about my book proposal.
I've got quite a big gay following. I played a lesbian prostitute in the TV series 'Band Of Gold' but I think my following really grew when I played one in the film 'Imagine Me & You,' with Piper Perabo.
The fans that I have met so far have been nothing but supportive and extremely passionate about the books. I feel so honored to meet all these people. Something like this, which I think is bigger than anyone in the film, it's pretty crazy.
My roommate at Yale University introduced me to the auteur theory of filmmaking. I soon became a big fan of the works of John Ford, Kenji Mizoguchi, Ernst Lubitsch, and Stan Brakhage. I then decided to make my own films!
I get startled really easily, so I hate horror films. I have to close my eyes when I think something is going to make me jump, because I just scream.
