We did this film in 13 days, mind you. And 13 days is not very long for a feature film. Nobody in their right mind would argue that. Nobody in their right mind would do that.
People use location as a language in films, and Quentin uses action as a language in his films. There's really not a lot of violence. It's more of an emotional beat than it is a physical beat.
Film, theater and television always kind of scared me. I don't ever seriously think of myself as an actor at all, and I don't plan any film career or television career.
There's something that people misunderstand about screen quotas. It's not about rejecting or hating other countries' films, but about protecting our domestic film industry.
This film is what it is. It's a campy thriller horror movie where you go and have fun. With these types of films, you can't take it too seriously. They are what they are.
Television has dried up for my generation, so it's plays and films. You get used to being lazy doing films, but classical theatre's going to finish me off.
I will say that comic books are not the easiest things to translate to film, number one. Even the most well meaning of filmmakers find what's acceptable on the printed page is very difficult to bring to film.
I'm not saying no to anything, at least as far as reading scripts. I don't care if it's television or films but, personally, I would say I'd like to establish myself more in film.
My favorite film score is the one Thomas Bangalter created for 'Irreversible.' The soundtrack absolutely defines the daymare-into-nightmare feeling you get from the film.
The Sand Pebbles has always been one of my favorite films, I suppose because its the most difficult film - from a physical and logistical standpoint - that I've ever made.
Many of my favorite films, if someone were to tell me simply what they're about, I probably wouldn't be that interested. Plot often has so little to do with what's at the heart of a film.
I'd like to do a number of films. Westerns. Genre pieces. Maybe another film about Italian Americans where they're not gangsters, just to prove that not all Italians are gangsters.
If people ask me, 'For you, what is your most important film?' I have a feeling that they all sort of want me to answer with one of the Bergman films. But I cannot choose.
The woman I'd want to meet the most is Nicole Holofcener. I've loved every single film she's done. I think her films are deeply comedic while being deeply disturbing and dark.
I have a hard time articulating the emotional experience of working on a film. Even when I have meetings on films or discussing them with directors, I find that's my biggest challenge. Different words mean different things to people.
You would think, in an ideal world, that if you were in a really good film and did a really good job, whether it was a big film or not, you would get hired a lot; but that is not my experience.
Every film teaches you something; every experience on every film set with every co-star teaches you something. You learn something new. I think the challenge is to keep working harder and doing better.
Anyone who's made film and knows about the cinema has a lifelong love affair with the experience. You never stop learning about film.
The first Superman film took up a huge chunk of our lives, but it was a wonderful time for us. We were young, my daughter was little, we were filming in London for a year, so we became like a close family.
I've made a dozen films in the English language. But then, for love, for my family and friends, I returned to Europe... I annoyingly - looking back - turned down films like 007, 'For Your Eyes Only,' written specially for me.
As Ralph's character begins to discover the political thriller aspect of the film, he falls deeper in love with his wife, so the two run together. That's the beauty of this film. It has fast pace and excitement, but it also has heart and soul.
