I think there's a connection with 'Nightcrawler' and 'Blowup' and other films where visual imagery is integral to the story. It allows you to play with images.
Normally, in a film with lots of twists and turns, half of them don't make sense; they're just there for their own sakes.
Films are wonderful but they do fix an identity. I can't read 'Pride and Prejudice' anymore, for instance, without imaging Colin Firth as Mr. Darcy.
And that's another reason to make this movie: We can put plays on film now, at a relatively small cost, and they will reach an audience they would never have reached otherwise.
An artist makes a painting, and nobody bugs him or her about it. It's just you and your painting. To me, that's the way it should be with film as well.
Usually when you watch a film, you're just sort of biting your nails about things you could have done differently.
If you get a book which is 600 pages, you have to reduce it to a script of 100 pages. In two hours of film, you cannot possibly include all the characters.
No, I'm not a comic book guy. I'm pretty fascinated with the subculture though and I do think that the world of comic books is such a natural transition into film.
Pleasure resorts are like film stars and royalty... embarrassed by the figures they cut in the fantasies of people who have never met them.
'Mr. and Mrs. Smith' - every scene is from those characters' point of view. They're in literally every scene, very unusual in a big studio film.
I think graphic novels are closer to prose than film, which is a really different form.
A screenplay is really a blueprint for something that will be filmed. Therefore you must always keep in mind that whatever you write is going to be staged, for real.
The reason I haven't got an agent is so that no one can contact me to offer me a film part. In case I'm tempted to do something I'll regret later.
I think it's so strange that certain people think they know you because you've been in a film. It's very flattering, but it's also very scary.
I guess we're all lucky to be in this profession where you can be someone else for two or three months on a film shoot. I find it restful. Vachement agreable.
I don't think of Storefront Hitchcock or Stop Making Sense as documentaries, I think of them more as performance films.
It's hard when you're doing a film based on a true story to really figure out what all those relationships were.
I find that as long as I'm acting it doesn't matter if it's for TV, or a series or a short film. I always have fun no matter what I'm doing.
'Apocalypse Now' poses questions without any attempt to provide definitive answers, and the film's profound ambiguities are integral to its enduring magic.
I don't know what to do with myself between films. I end up doing unhealthy things like shopping or drinking. I'm pretty schizophrenic about it.
I admire a lot of Spanish filmmakers and actors. I grew up watching a lot of Spanish films and novellas, and there's just so much talent out there.
