I've held onto little musical sketches that I thought could be useful, and the more time that I spend doing them for each film, then the more I have to draw on.
Often while traveling with a camera we arrive just as the sun slips over the horizon of a moment, too late to expose film, only time enough to expose our hearts.
I remember doing my SATs on a film set; you had to complete the tests in a certain time and, obviously, you couldn't be interrupted. I think I did pretty well; it wasn't too difficult.
I like films that take their time a little bit more and don't show you all of their cards right away, characters that are conflicted and contradicting and seem one way at first and then suddenly turn out to be something else.
I think you tend to try, during the time you've got off, to forget about the film. It was such a total world. I mean, the sets were claustrophobic, and as soon as you were on there, you were right back into it.
The deaf community is nearly never portrayed accurately on television/film because most writers never took the time to immerse themselves in the deaf culture before portraying it on television. They also never got to know their deaf actors.
If you look at 1983, the film of the year was 'Terms of Endearment.' 'Scarface' was lumped in under the gratuitously violent banner. I mean, we knew it was violent, that it depicted a violent time and place. But it wasn't the end-all of the thing.
At one time, late Yash-ji, too, wanted to do two to three films, but somehow, I am not the kind to do too many things at the same time. I like to take it slow and steady.
I've concentrated for a long time on English films because I've got two kids but my oldest son is 11 and I think I'm going to be away for about four months of year now.
The film was made in 1973. It was a golden time for people to experiment without risking, for example, AIDS. Today one has to be so much more careful and I don't think a character like that could exist now.
I think that every minority in the United States of America knows everything about the dominant culture. From the time you can think, you are bombarded with images from TV, film, magazines, newspapers.
I usually do about five cuts as a director. I haven't ever directed a film where I haven't made five passes through the movie, and that takes a long time.
By the time I got to the Fox studio for my first major film, I knew how to hit a mark. I knew how to memorize lines. I knew how to pay attention.
You always draw on your experiences with live audiences to know how to do comedy on films. You're working for a laugh that may or may not come six months later, but you're working in a vacuum at the time you are doing it.
As a director, I think it is important to keep a space between yourself and your film. It's like you are in the movie, but at the same time you are watching it from the outside.
I have a film I want to direct. Gena Rowlands was going to do it with me a long time ago. It's about an older woman who's running a ranch in the west the old fashioned way.
And as I've gotten deeper into the process of making films and television and such, I think I have more trust in the fact that you really never know what you're going to find after the twenty-fifth take.
I think a film set is a quite controlled environment and you feel like you can trust them and it is going to be a safe place to work, but I really don't think about it.
I think when people go into something for the right reasons, you're going to get a better film; you're going to get more intimacy and a stronger foundation of trust.
When 'The Thin Blue Line' came out, I was criticized by many people for using reenactments, as if I wasn't dedicated to the truth because I filmed these scenes. That always and still seems to be nonsensical.
Alfredo: [after informed about the arrival of the new non-combustible film] Progress always comes late.
