When I was little it was a great time for film-making, with stuff like Mike Nichols' 'Silkwood.' The films you see in that pre-secondary-school stage stay with you in a very particular way.
I'm hoping one day I can make one really good film.
I just think Australia tends to make very good movies, so if someone hands me an Australian or an American film script I would guess the Australian film would be more intriguing.
Film has always been a really good tool for me to communicate emotion about why I create a collection. I'm probably one of the first designers to make short films.
I think you get out of film school what you put into it. If you don't care about making movies, film school will do you no good.
Every day I spend in Hollywood, I start to realize how many films are made with no heart and no love. They just do it for the paycheck, and I cannot imagine making a film that way.
I really fight hard to make things film where they're supposed to be filmed. If something is supposed to be in New York, then it has to be in New York.
I have always tried to make profitable films because people's offices shut down if films fail, and I will do everything to avoid that.
I don't like films giving me answers. I like films that are provoking me, that are making me feel not only being in an easy place.
I want to make films and write films, which will happen, I'm just taking a different route right now. I'm a bit of a chameleon with the whole entertainment industry so to speak.
I accept all interpretations of my films. The only reality is before the camera. Each film I make is kind of a return to poetry for me, or at least an attempt to create a poem.
When studios start telling me why a particular film project won't work, I remember 'Rocky.' I remember that the biggest success Bob Chartoff and I have had was a film nobody wanted to make.
When the script was written, it was sent to me with asterisks marking where he felt a song would be appropriate. Before the film was shot, the score was written. I made a demo of it, so they lived with the music as they were making the film.
The music for 'The Departed' could have been played by an orchestra, but you make a decision about orchestration based on the context of the film. You want the music to broaden the scope of a film, not just repeat what you're seeing.
It's hard to make a living doing documentaries. Frankly, if it takes you five years to do a film, and that's the only film you're doing, you're in trouble.
Most people don't really understand what it takes to get a film made, and the struggles .I think anyone who makes a film goes through their own set of struggles.
So as I was growing up, my father was always in the middle of making a film or preparing a film. It was a full-time, all-consuming type of operation.
I have always thought if you are going to make a film, it's much better to have an original script that will play to film's strengths.
These films however, have ambiguity built into them, because it's too easy in film to make a strident work of propaganda or advertising, which are really the same thing anyway, meaning the message is unmistakable.
I try to make films that I find exciting. It makes me want to get out of bed at five in the morning, have my make-up done and play for the rest of the day.
Becoming a producer enables you to empower yourself, to make the film that you want to make. I have desires to make movies - I have movies I'm developing, and things that I'm interested in.
