It's very difficult to break into motion pictures, but it's oddly easier for directors today because of independent films and cable, who have inherited for the most part those films of substance that the studios are reluctant to finance.
I love film, but it's funny going to drama school for three years, where you spend most of your time training for theatre, then coming out and just doing films.
My films are very rooted in specific people's point of view. Some film-makers give a more global point of view, like God looking down at the characters.
Sundance is going to be a defining moment in my life. But the unfortunate thing about Sundance is, when you have a film there, you can't have the opportunity to see other films.
There are characters in movies who I call 'film characters.' They don't exist in real life. They exist to play out a scenario. They can be in fantastic films, but they are not real characters; what happens to them is not lifelike.
Doing that, then doing a lot of theater, which I love. Doing guest stars, did two independent films that are going around to all these festivals. Both of them are going to be at the Lake Tahoe Film Festival.
One of the things about the '70s films I love - the films 'Nightcrawler' is being compared to, like, 'Taxi Driver' - is that they never put their flawed characters into any one box.
Strange - I'm not much of a film person. I love watching films, but they don't stay with me the way books do. Stranger still, because my husband is a screenwriter!
If 'Trek' is a hit, we'd love to do a series of films - a regular event. Look at James Bond's films. They've been around since the early sixties.
I didn't come from a background of films. I didn't even really ever watch films. The fact is, my parents weren't into that stuff, and neither was I.
In studio films, everything has to be boxed in, everybody needs to know beforehand - this is comedy, this is sci-fi, this is drama - and what's the point of independent film if you don't get to experiment?
We have a documentary film festival in Mexico. It's really original. It's called Ambulante, and it's a film festival that travels around several cities in Mexico.
I've been lucky enough to do a few films that will last longer than an opening weekend and those films are the ones I'm proud of.
I'll definitely say that, before film school, I didn't have much of a film-history background. I didn't know much about classic cinema.
I used to hate doing color. I hated transparency film. The way I did color was by not wanting to know what kind of film was in my camera.
Honestly, there are so many things about structuring a story for film and telling a story for film that are really different from doing radio.
I grew up thinking there was something called 'independent film,' which I wouldn't necessarily have had access to if there wasn't Sundance.
A period film, where you, for example, where you have a traditional wardrobes, you are bound to act a certain way. But in a modern film, a lot of body gesture.
I might do my own independent film, that my husband wrote for me, if all the ducks are in a row.
There is also an artistic element which is lead by the film maker. Issues of what is reality and objectivity are as always relevant as someone is going to edit the film.
You really think that on my films people tell me what to do? I don't think so. On my films I decide.
