You know, the people who do indie film and decide who gets those little budgets? They're mean, man. They're cold and very cool-oriented.
I don't know what I'm qualified to do, film-wise... So it's really down to a director or a casting director to find something that they think I could do.
For me, the most absorbing films are those that address big questions and real ideas but embody them in small examples that we can appreciate and comprehend.
I don't believe in objectivity. I observe the observer's paradox every moment I'm filming. Your presence is changing everything; there's no mistaking it. And you have a responsibility.
I feel I've made the transition from model to actress, but I'm not that secure about it. Lauren Hutton, Jennifer O'Neill - we all know that a few films don't mean all that much.
My entire career stands on the strong pillars of women-oriented films. This stems from the fact that I am sensitive to the entire aura and mystique of a woman and womanhood.
Nobody in the world knew about Megan Fox until I found her and put her in 'Transformers.' I like to think that I've had some luck in building actors' careers with my films.
The one thing I'm proud of as a filmmaker is that people are entitled not to like my films - that's the privilege of the public - but I think I have my own imprint.
When I look at a film, I don't think, 'Oh, I wish I had done that' because I haven't done that role, so it doesn't matter.
I had no desire to be an film actress, to always play somebody else, to be always beautiful with somebody constantly straightening out your every eyelash. It was always a big bother to me.
There are still things technically about films that I think are a mystery to me and I want to remain a mystery. I don't particularly want to know what everyone's job is because I've got lines to learn.
Now, after the communist take-over in 1948, the amount of feature films produced dwindled to three a year, while the school was, you know, every year another three, four, five students.
I am a gay man who loves James Bond films and snooker - all kinds of working-class pursuits.
You need philosophy. It sounds a little pompous but I think when you direct a film, the only way to find a response to the questions you keep asking yourself is to have a philosophy.
Most horror films fail to scare me. I think 'The Ring' plays more as a psychological thriller. It's smarter, there's more character development and some of the themes explored go a little deeper.
What I like are films that take me seriously, that don't treat me as more stupid than I am.
You will find hardly any improvising on camera anywhere in my films. It's very structured, but it's all worked out from elaborate improvisations over a long period, as you know.
Sometimes we misunderstand what films can do. We just throw a whole book in there, with people just talking, talking, and talking. The picture can tell, the frame can tell.
For example, Michael Mann's film Collateral - there is certain kinds of stories that lend themselves to digital photography. Some things are very raw stories that digital photography kind of lends itself to.
Video looks like reality, it's more immediate, it has a verite surface to it. Film has this liquid kind of surface, feels like something made up.
With the film around for 25 years and the show being around even longer - still running and continuing to fill house all around the word - it's really an exciting and wonderful thing to be part of that.
