Once you work with a studio on a film, the studio is sort of like this enormous clam that just opens, takes everything and then closes, and no one enters again. They own it all.
I thought that I'd never be able to work in films or TV. Another girl would be cutting her nose to be an actress. I was always very sure about myself.
Some things work better as a book, some things work better as a story, some things works better as a film.
I've made films that I've given all I had to, that no one has seen. The bottom line is I want to work and I want someone to enjoy it.
I always believe that one can't interfere in another's work. Once I start work on any film, I surrender myself completely and blindly follow the director.
Sometimes you see things in a script, and it doesn't necessarily mean the director sees the same things. And if you think you're going to be making a different film, then that's not gonna work.
In my films that I've directed, and my work in commercials and videos, I've rarely used handheld. It's just not something I'm drawn to, but I've seen it done very well.
When I was young, 'Scarface' was my favorite film. Al Pacino is my hero. I want to work with him.
I seek speed, clarity, and a practical approach in people I mingle and work with. I can't see myself working in films that stretch beyond maximum four months.
For films, the process is that you work consistently and constantly for 3-4 months and then leave; whereas for a play, you prepare for about a month and then continue performing it for 5 to 6 months.
I mean, the only thing that matters to me is getting to the work - getting to do the work. And I don't really care where it is: whether it's on stage or on television or in film.
I come from the theater, and I've done a lot of character work in the theater, but Hollywood stuff in film and TV, they've been more leading lady/ingenue type roles.
The system in Germany is different, as you sign up with a company for two or three years, and you work exclusively with them; you can't do any film work on the side.
I work very fast and steadily, and I don't hardly ever notice that I'm working. It feels like just breathing or walking when I do films.
I think that the audience wants to see women being put into real situations where they can relate to them, rather than seeing some glamorous woman in a 'Bond' film.
I applaud Women in Film - not only for celebrating the successes of women, but for providing a safety network to mentor women and to discuss the particular issues that arise in a very male-dominated industry.
What I think is wonderful is that women are not just avengers or victims in films. They are people. They are characters. It's so refreshing. They're playing different kinds of characters, and they aren't being typecast.
War is chaotic and when you start having a larger scale film and you have a lot of safety protocols and choreography, I would imagine it becomes more difficult.
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