I'm not interesting enough on my own that you'd want to see a film about me.
Television and film acting is really fun because you are working with other people and you are not completely responsible for the outcome of the project.
Sometimes people get really sniffy about the films you choose if you've done more dramatic projects or you're classically trained.
With a film, you try to keep your vision in it. I think with 'The American' and 'Control' I managed to do that.
Juilliard definitely emphasizes the theater. They don't train - at all really - for film acting. It's mostly process-oriented, pretty much for the stage.
It's so exciting to headline a film. It's not every day you see a Latina carrying a full-length feature.
I think the most experimental way to a film is to tell the story the traditional way, because everyone is doing the other thing.
The problem is we are not eating food anymore, we are eating food like products. (Hungry For Change Film)
I can watch films and say how technically beautiful they are, but I'm not impressed by any technicality.
Every film has an origin. It is made under certain circumstances, and that is a very important point that should be kept in mind during a review.
On a big film, there's almost no way you can meet everyone. On an indie, there are 30 people and no trailers to duck into.
I'd even say it's a realistic film because that's the way it happens in our heads; that was the idea.
I like it when I go into a cinema and I'm not aware that I'm there; I'm totally involved in the film for two hours.
I never wore a single fedora filming 'L.A. Noire.' It took about an hour and a half to do the hair - it was a very precise process.
Well, I have no problem with 3-D but I don't think it's necessarily a blanket requirement for every film.
I do a film if it interests me, has a connect with the audience and some entertainment value. The rest doesn't matter.
I feel the film companies should pay for proper advertising to see that the movie will sell, instead of putting it on our backs.
But in fact if you look at film as a metaphor, only through the negative can you have the positive print. What I'm trying to get to is the positive value of negation.
Well, whether it's on film or on TV, you don't want to throw too many curves at your audio and video guys.
Most of my films seem to be about people bewildered by the world around them, who don't fit into it and are trying to understand it.
House was the first film where I had no influence on the script. I had to buy the script with the game rights.
