Because I trained in theater, I always leave a film shoot feeling like I haven't done anything, like I just sat in front of the camera and whispered, essentially.
I'm always attracted to lower budget, not because it's lower budget, but because they tend to be better scripts. It's the scripts that tend to be the small arthouse film that tend to be more actor-led and character driven.
When on the set of a film, you have to play natural for entire scenes in a very unnatural environment. You have to express emotions and interact with other actors and also use your voice.
With theater, you have to really be able to listen and to respond to other people on stage. You're all constantly on your toes. And then with film and television, you can get a second take and things like that.
Ford didn't know what to do with Mister Roberts that wasn't repeating what was successful in New York. He was trying to do things to the play that would be his in the film.
When you do a voice in an animated film, you don't see the finished product at all. You're not animating. You're not doing the voice on the finished product. You're doing the voice long before.
I wish all critics, no matter their color, were more sophisticated when it comes to the moral questions a film like 'St. Anna' is trying to raise.
Film and television is just a different technique in terms of how to approach the camera but basically the job is the same; but what you learn as a craft in theater, you can then learn to translate that into any mediums.
I brought Yoko Ono to New York and gave her her first job there. I was editing a magazine called 'Film Culture.'
People are very reluctant to invest unless they know it's going to be a sure thing, and let's face it: film is never a sure thing.
In most films - especially in regards to the protagonist - really from the get-go they set up some scenario that endears that character to the audience. Or imbues him with some nobility or heroism or something.
When I think of 'Nightmare on Elm Street,' there was a warmth to those teenagers that I related to. They were not aware that they were in the middle of a horror film, and I really loved those characters and I empathized with them.
I figure if it's turns out well the film will have its own momentum and will carry into the video release. So it's hard to really picture the DVD version when I'm in production.
It was an interesting process trying to get Bob to talk about the film because he's such a shy person. He generally likes to talk when he really knows he has something to say.
I would consider directing. I think directing myself would be tough, but I'm definitely interested in directing. I might start off directing a play before I move to a film.
I don't really have anything against the French except that, as an American, I've been bred to despise them with the same zeal as soccer and Renny Harlin films.
I don't think I've made my favorite film yet. But I loved 'Bamboozled.' 'Bamboozled' to me is off the chain. It's definitely in the ranking. I loved 'Bamboozled.'
When we were filming, I thought that I was Peter Pan, you know? I thought I was the coolest kid in the world, so I wound up being the coolest kid in the world.
Coming from TV and film, rule number one is that you always service the main character first and foremost. If that's not working, you've got nothing.
I think the problem I have is that first impressions are the ones that stick with people. And people's first impressions of me are obviously from the film, from 'Gregory's Girl.'
I met a hustler at a dinner party. He had been invited because I was looking for an adviser to help me with the street scenes. So we put him on the film.
