After studying in Sheffield, I went down to London to do my post-graduate degree at the National Film and Television School, embarking on the movie that would eventually become 'A Grand Day Out.'
Then all of a sudden, Quentin Tarantino comes along and puts a song from 40 years ago in one of his films and they've suddenly discovered you. That was a real gift that Quentin gave me.
I think television scripts have become really intriguing and well-done. And writers have stopped drawing any actual line between film and television they used to never cross.
Every actor has to move in a Terrence Malick film - that's the requirement. If you stop, he'll tell you, 'No, no, keep moving.' You can't be static. It's a choreography.
I never seek controversy or foresee it for my pictures. I take a personal stand, and perhaps because my films are on contemporary subjects, people do not share my point of view.
This character in the film, these things that he says which sound like advice and wise things, they are very common for Orientals. It's all the tradition.
If everyone worked with wide-angle lenses, I'd shoot all my films in 75mm, because I believe very strongly in the possibilities of the 75mm.
The first thing one must remember about film is that it is a young medium. And it is essential for every responsible artist to cultivate the ground that has been left fallow.
Action films can be like watching paint dry. You can just die in the trailer waiting for them to set up a shot, then you go out for a few minutes or an hour of endurance testing.
When it comes to remaking my own films in the English language, I can only imagine that it is a very boring process, I wouldn't ever dream of it.
Films can be entertaining without shying away from exploring something. They can be magical and have fantasy, but also can have enough reality that you can be really emotionally invested.
It's weird - on almost every film I've worked on, the first sequence we storyboard ends up being the first sequence that goes into animation, and ends up being almost shot-for-shot the same.
Each one of the films get built up and strengthened and reinforced, and we're not afraid to rip stuff out and redo it until we feel it's worthy of the 'Pixar' name.
The juggernaut that is steampunk, like Dr. Loveless's giant mechanical spider in the 1999 film version of 'The Wild, Wild West,' seems capable of crushing all naysayers.
I think of myself more as a filmmaker or as a film person than as strictly just a writer. I don't come out of playwriting or anything like that.
I just figure if you have a modicum of celebrity, you need to use it, and you need to use it for more things than just promoting yourself or your film or your image or your product.
To get an Oscar would be an incredible moment in my career, there is no doubt about that. But the 'Lord of the Rings' films are not made for Oscars, they are made for the audience.
Before I started doing the film and when I found out I was going to be doing it, I just decided to pump up on the whole cardio stuff. Just in terms of stamina.
The bastard form of mass culture is humiliated repetition... always new books, new programs, new films, news items, but always the same meaning.
On 'Darjeeling,' I was on set every day and I acted as the second unit director and a producer on that film. I was there throughout the whole process. On 'Moonrise Kingdom,' I showed up for one day.
One difference between film noir and more straightforward crime pictures is that noir is more open to human flaws and likes to embed them in twisty plot lines.
