It's interesting going between small parts and then bigger roles where you carry the film. If the writing is good, and if the people involved have integrity, then you'll do it, even if it's only five minutes on screen.
To try and raise a budget for a film that is strictly for adults and both strong and graphic in content is not easy, especially when there is pressure to spend serious money on good special effects.
Always changing genres, making very different films is a good idea. It's a way of making yourself feel vulnerable again, getting back to that innocence. As is working within a circumspect budget.
If you're clever enough and creative enough to get a good film made, then you should be clever enough and creative enough to find ways to get it out there, one being something like Jameson First Shot.
I think there's a lot of elements that go into making a really awesome horror film and that's like putting together like a real good group of people that you love to watch them either live or die.
I like to go from mainstream movies to more artsy films. I don't sign on for the money. Maybe I should, but I don't. There's always a good reason for doing something.
Although there were only about 24 episodes made it seems to run forever. They take a couple of episodes and put them together, making a feature film once in a while. I had good fun making the series.
I really look up to people who experiment in all areas and I think Johnny Depp is a really good actor to look up to because he's done so many genres of films.
Yeah, I'm certainly a lot more confident on this one than I was one the last one, which I think can be a good thing and a bad thing. But, at least I slept while making this film.
In 'Pacific Rim' I had to have a haircut I wouldn't usually rock. However, the moustache I had in the film - that might have to come out again. It was a good moustache. Good times.
If you start with a good idea, you can encapsulate it in a phrase and explain it. I like high-concept films. Everyone can get hold of it. I don't think there's any harm in that at all.
Fundamentally, whether directing in the theatre or a film, you have to be a good storyteller, regardless of the form. The thing I had to work hardest at was thinking in shots.
I went to film school at UT Austin. I learned a lot, and that school's good for puking up all your bad movies early and quick. But ultimately, no one can teach you to be an artist.
So many people wait around for funding, and if they're unsuccessful, they don't make the film; if you've got a good idea, that seems so pointless. There's always a way of doing it; you've just got to find it.
I love films that make you feel good when you come out and, in my opinion, there's not enough of them these days.
I can't say that I wouldn't prefer to make small films, basically because I think they are probably more interesting in terms of the material. But every now and again, it's quite good to do a big one.
I like to rehearse with the actors scenes that are not in the script and will not be in the film because what we're really doing is trying to establish their character, and good acting to me is about reacting.
I'm very good at getting up in the morning - so much of my life has been spent on film sets where we start at the crack of dawn.
What I learned from this movie, 40 Days and 40 Nights: Abstinence can be a very good thing. Especially from box offices where this film is playing.
I was out in L.A. and I had gone to film school and I was out here for a couple of years. For a lot of years, I was bartending and having a good time.
I've just made a cancer drama, called 'Now Is Good,' directed by Ol Parker and starring Dakota Fanning. We filmed in Brighton and it's about a girl dying of leukemia, although it's not as depressing as it sounds.
