I can watch a film, even a film that I've been in, and think, 'I'm not sure, 100 percent, what I think about it.' I'm not sure what I think about what I've done in it.
My grandma was really sick when I was working on 'Sin Nombre' and eventually died that summer when we were finishing the film. But I was able to bring an unfinished version of the film for her to watch.
I like L.A., but I think what's changed is that the kinds of films I do, the mid-range dramatic film, has become an endangered species.
I made 'Batman' the way I made every other film, and I've done it to my own satisfaction - because the film, truly, is exactly the way I wanted it to be.
I didn't have a lot of independent film connections. It really took until the digital film revolution came along that I realized that I could do it myself.
Once you have made the decision to do the film, once you have identified the desire and all the deep and personal, intimate, artistic reasons why you want to do the film, then it's more a matter of how to do things.
I grew up with 'Cinderella.' So that was my go-to Disney film, definitely. It was princess-related, and coming from a smaller area in Illinois and wanting to do something greater than myself in Broadway, that was a film that I could really relate to.
I think my films kind of walk this line that I'm proud of, that they feel sort of like films of my youth, which were far more commercial.
After film school, I embarked on trying to promote independent films. But after a while, I realized I was breaking my back doing six-day-a-week shoots, 14-hour days, and no guarantee of distribution.
Essentially, we wanted to be in one of Azazel's films, so the notion was we'd simply write an Azazel Jacobs movie ourselves, and then give it to him and be like, 'Right, here's you next film, now direct us. Go.'
Personally, I prefer contemporary films, but the market calls for more period choices, especially since China opened up a cinema market in Hong Kong. There's a lot of restriction for contemporary films simply because of subject matter.
I saw the original that Gela Babluani wrote and directed called '13 Tzameti,' and that was very interesting. I believe it was a French film, and I was just intrigued by the awkwardness; the off-beatness of the film really just grasped me.
Television is a lot of fun. It's faster-paced. The schedule is really desirable, I guess. But as far as films go, and I've only done a couple; film is like a definitive beginning, middle and end. You know your character's arch.
We have new tools that can give the audience a sense of not only being there, which is the key element in an IMAX film, but also seeing things in a way that they won't see on television or in feature films.
As an audience member, if I go to a film, and I am watching two actors, and they're kissing, and it looks like they don't even want to be kissing, it just takes me out of the film.
'Flying Down to Rio' established RKO as a leader in musical film production throughout the 1930s. The film helped to rescue the studio from its financial straits and it gave a real boost to my movie career.
If Wagner lived today, he would probably work with film instead of music. He already knew back then that the Great Art Form would include a sort of fourth dimension; it was really film he was talking about.
I can't do a film after having debated it. I am unable to do a film while discussing it with my team. I issue directives. I do not achieve it otherwise.
My argument has always been that this is not an anti-Bush film, it's a pro-democracy film. And if Bush comes out on the wrong side of democracy, that's his problem.
We have to do a film parody for Comic Relief. We can't decide which film to parody at the moment. Any ideas welcome, but not Spiderman owing to costume being too tight.
When I met David Green at film school he always used to offer free haircuts - he was kind of an artisan. In a lot of our films, he's constantly trying to give me weird looks.
