The most heinous shift in American films is that they reinforce good things like 'couples' and 'relationships.'
I was never that good on stage with live improv. I was much better on film or writing something and then thinking about it. I was too in my head when I was on stage.
It's good to be busy on a film set because there is a lot of sitting around, so if you've got two roles to play at one time, then that's great to do.
I feel as if I became a documentary film-maker only because I had writer's block for four decades. There's no other good reason.
The one worry that I always have with TV is that it's such a long commitment. You sign on to be there for a good amount of time, and then you can't go and do films and things like that.
As a Western, 'The Magnificent Seven' was a pretty good film. I don't think it was as interesting or as multi-faceted as 'Seven Samurai.'
I think the people who cast films tend to think of me in regard to strong women with integrity and a lot of it has been very good.
I think for everyone it's good to have your own personal work on a character and a film before you even start rehearsing, to have an inner life.
People will now go to films with subtitles, you know. They're not afraid of them. It's one of the upsides of text-messaging and e-mail. Maybe the only good thing to come of it.
I like comedies, I like thrillers, I like love stories. Everything is beautiful; it depends if the film is good, who cares? Everything is interesting.
Films don't hold the answers I'm looking for... Would you not be so much more interested in finding out that Bigfoot existed than in watching a really good movie?
The more intelligent the storytelling becomes and the deeper the character development, people will realize in film and television, like they do in real life, that human beings possess both good and bad.
I think the Chainsaw remake is very good and captures the spirit of the original film. It's true to the tone of the original, to the point that it's almost a companion piece.
There's no big splashy renaissance in Italian films. We have good young actors and directors. What we lack are screenwriters. It's hard to write about Italy.
There's an ecstasy about doing something really good on film: the composition of a shot, the drama within the shot, the texture... It's palpable.
I did my first film when I was in the final year of my graduation. At that time, I was still a kid, and I couldn't read the industry very well.
Film work can be tedious and sort of all over the place, especially when you have a family and you're going off and doing things somewhere else.
Three years after starting, by physically doing everything from raising the finance to special effects, we'd finally cobbled together our low budget film.
006 was such an interesting character and the film really explored his friendship with Bond and how it all went wrong, so it was a very personal journey for both characters.
Fear has disappeared. No more fear. In Asia, it is different. They've discovered again the fear and the psychology of the characters. Without psychology, the horror film doesn't exist.
But with the right kind of coaching and determination you can accomplish anything and the biggest accomplishment that I feel I got from the film was overcoming that fear.
