As long as a film stays unmade, the book is entirely yours, it belongs to the writer. As soon as you make it into a film, suddenly more people see it than have ever read the book.
Once you have made the decision to do the film, once you have identified the desire and all the deep and personal, intimate, artistic reasons why you want to do the film, then it's more a matter of how to do things.
The things that I've done that have totally been remembered, they've always started with the same kind of engine, they've always started with someone saying 'I have to make this film - I'm going to make this film whatever the odds'.
I grew up with 'Cinderella.' So that was my go-to Disney film, definitely. It was princess-related, and coming from a smaller area in Illinois and wanting to do something greater than myself in Broadway, that was a film that I could really relate to.
When I make a film - I direct my own film, I write my own script - that's what I want to hear from the audience. 'Oh, thank you, Jackie!'
I think my films kind of walk this line that I'm proud of, that they feel sort of like films of my youth, which were far more commercial.
After film school, I embarked on trying to promote independent films. But after a while, I realized I was breaking my back doing six-day-a-week shoots, 14-hour days, and no guarantee of distribution.
Essentially, we wanted to be in one of Azazel's films, so the notion was we'd simply write an Azazel Jacobs movie ourselves, and then give it to him and be like, 'Right, here's you next film, now direct us. Go.'
Personally, I prefer contemporary films, but the market calls for more period choices, especially since China opened up a cinema market in Hong Kong. There's a lot of restriction for contemporary films simply because of subject matter.
I saw the original that Gela Babluani wrote and directed called '13 Tzameti,' and that was very interesting. I believe it was a French film, and I was just intrigued by the awkwardness; the off-beatness of the film really just grasped me.
Television is a lot of fun. It's faster-paced. The schedule is really desirable, I guess. But as far as films go, and I've only done a couple; film is like a definitive beginning, middle and end. You know your character's arch.
I wanted to make a film about stupid people that was very vulgar and deeply stupid. From that moment on I can hardly be reproached for making a film that is about stupid people.
We have new tools that can give the audience a sense of not only being there, which is the key element in an IMAX film, but also seeing things in a way that they won't see on television or in feature films.
As an audience member, if I go to a film, and I am watching two actors, and they're kissing, and it looks like they don't even want to be kissing, it just takes me out of the film.
I got too fed up with films that didn't make you think. I liked the idea of one that you'd have to be dancing around with. I like my mind to be engaged when I watch a film.
I can't do a film after having debated it. I am unable to do a film while discussing it with my team. I issue directives. I do not achieve it otherwise.
For this game, we shot it just like it as if it was a film so there wasn't that much different from doing a film other than some technical things for the costume that had to be done so they could transfer the footage later and make it look animated.
My argument has always been that this is not an anti-Bush film, it's a pro-democracy film. And if Bush comes out on the wrong side of democracy, that's his problem.
I was able to lean on people for favors and things to help out because their budget was so low. It was half of what John Travolta's perk package is on a film. Our whole budget was half of what his staff makes on a film.
We have to do a film parody for Comic Relief. We can't decide which film to parody at the moment. Any ideas welcome, but not Spiderman owing to costume being too tight.
What has always been at the heart of film making was the value of a script. It was really the writer who could make or break a film. But as we all know, the writer has always been at the bottom of the creative heap.
