The nightmare of a film career, or at least the challenge of one, is that you're rarely going to get the opportunity to explore character because once people see you in one thing, you know, they want to see that again.
I guess because I pay so much attention to the physical part of the character, I don't look upon it as like Charlize Theron up there. I don't think of them as like Charlize Theron films.
Multiplicity was a movie that tested really well. People seeing the movie really liked it, but then the studio couldn't market it. We opened on a weekend with nine other films.
The adrenaline feeling of jumping out of cliffs and bikes and all of that is very specific to the film. In 'Pac Rim' I'm not doing that so much. There isn't that touch stonework for me in it, but there is a lot of action.
For me, making films is like being on vacation, it's a nice walk. But theatre is like mountaineering. You never know whether you're going to fall off or make it to the top.
After 'The Empire Strikes Back,' I got to make big films that I didn't care about, 'Never Say Never Again' and 'RoboCop 2,' and then I got too old.
If you got the DVD you can see that George Lucas has taken that person out, as well as the voice, and we shot this scene when we arrived in Australia during the actual filming of Episode 3.
A few words of Hindi appear here or there, but it's all Urdu. I feel that if the popular culture, which is what Hindi films are, uses Urdu, it's not going to diminish.
I feel very proud that we have managed to stay together. In these forty years we have made forty-six films. Each one has brought a certain name and contribution to cinema.
We were asked to believe that the variety and the novelty of even the crude films of the early days would provide a means of entertainment which would cut out the stage.
I'm not interested in a film about deceit anymore. I think I was always invested in deceit on some level. But it no longer compels me the way it did for so many years.
For me, photography is not just about exposing film, it's about exposing the viewer to something new, a place they haven't gone before, but most importantly, to people that they might be afraid of.
I have actually lost a couple of roles - film roles - because a director or producer thought I looked too much like George Costanza, and I could not get out of that box.
My way of remaining French was the financing scheme I used for Quest for Fire, with Fox funds, since it started as a 100% American production. The film was not in French and yet was French in style, reflecting my personality.
When I heard about the first Tomb Raider, I was very interested and I would have liked to have directed that. When I was approached for the second film, I was delighted.
Often, when I finish a film, I'll have that feeling inside me: 'I never want to do this ever again. I don't want to pretend anymore. I want to be myself and do that.'
Phillip Harrison was the production designer, though, I think he's uncredited. He's done most of my films like Blue Thunder. Lots and lots over the years.
Just like the VCR opened the film and TV industries to unimaginable new revenue streams, search, RSS and the Internet will do the same for marketers and media companies.
It's so easy to manipulate an audience, but it's nearly always clear that you are being manipulated. I think even people that are not critically attuned are aware of cynical manipulation in film.
'Attack The Block' is an alien invasion film set in South London. It's about a group of kids who are some petty thugs, who have to find the hero in themselves, when they attack.
No one could have predicted on day one of rehearsals, that a year and a half later we would have shot a film and all be living in New York. It was surreal.
