My childhood dream was always to be on Broadway. I wanted to end up in TV and film. It's kind of flipped, and I'm not mad about it, but my childhood dream is Broadway and I want to end up there.
Australians just don't see that many Australian films, but it's also our responsibility as filmmakers and the responsibility of the funding bodies to remember that audiences want to be entertained, and people are entertained in lots of different ways...
Our literary culture is marinated in deep traditions of the fantastic and the supernatural, and we export those rich qualities in films and books on a spectacular industrial scale.
When I want to support a film starring actors I like, I purchase several tickets at the box office - even if I can't stay for the movie.
Film is a very tight little box. If you don't fit in that box, you're gone. Television, there's more room to move around.
With digital, you do have the advantage of having an absolutely rock steady image because there's no projector gate, no perforations, no film weaving through a machine. And there's no dust and no scratching.
San Francisco has long been a leader in the arts, nurturing generations of painters, sculptors, poets, novelists, playwrights, film-makers, and performing artists and innovators of every kind.
I think that the reason why 'Goats' is called 'Goats' is because you can't give direction to goats. They do what they want. That's the point of this film.
I began to realise that film sees the world differently than the human eye, and that sometimes those differences can make a photograph more powerful than what you actually observed.
Perhaps I am old-fashioned, but black and white films still hold an affectionate place in my heart; they have an incomparable mystique and mood.
I've directed enough in the theatre and a couple of films to know that - to feel fairly secure that if I find a story that I really like I can probably get it done somewhat.
I see horror as part of legitimate film. I don't see it as an independent genre that has nothing to do with the rest of cinema.
On a live-action movie, things happen that are unexpected. In animation, you have to fabricate the feeling. That takes a tremendous amount of nuance until the film becomes sentient and gives back.
I scored a movie called 'Endangered Species'. I worked on another movie called 'Staying Alive'. A German film called 'Fire and Ice'.
Because I trained in theater, I always leave a film shoot feeling like I haven't done anything, like I just sat in front of the camera and whispered, essentially.
I'm always attracted to lower budget, not because it's lower budget, but because they tend to be better scripts. It's the scripts that tend to be the small arthouse film that tend to be more actor-led and character driven.
When on the set of a film, you have to play natural for entire scenes in a very unnatural environment. You have to express emotions and interact with other actors and also use your voice.
With theater, you have to really be able to listen and to respond to other people on stage. You're all constantly on your toes. And then with film and television, you can get a second take and things like that.
Ford didn't know what to do with Mister Roberts that wasn't repeating what was successful in New York. He was trying to do things to the play that would be his in the film.
When you do a voice in an animated film, you don't see the finished product at all. You're not animating. You're not doing the voice on the finished product. You're doing the voice long before.
When you're making a film, it's a very technical process. You do things over and over again, and you have to hit your marks and your light and all that stuff.
