I usually work on a film soundtrack for two years, turning in a song every few months, and that keeps my creative energy high, because I'm constantly rotating projects. The trick is to make sure I don't work too hard and get exhausted.
I like to keep my budgets at a certain price when I work for someone else, and even more so now that I'm working for myself, and use new technologies to deliver films that look like they have high production levels.
In the film industry, we tend to pick up where others have left off, and I'd like to think the influences I picked up from Bruce Lee, Jackie Chan, Sylvester Stallone and Jean-Claude Van Damme are visible in my work.
It's like getting into film - I didn't say early on, 'I'm going to become a filmmaker,' 'I'm going to show my work at MoMA.' When you start to think those things, you're in trouble.
The thing about film-making is I give it everything, that's why I work so hard. I always tell young actors to take charge. It's not that hard. Sign your own cheques, be responsible.
Women have a certain sexuality, and I think their bodies are beautiful, and I'm not embarrassed to explore that in a film. But there are things you get offered that are vulgar and violent - just like there's a side of me that's vulgar and violent.
There was an interesting article in Los Angeles Magazine about women directors. A woman director makes one bad independent film and her career is over. Guys tend to get an opportunity to learn from their mistakes.
Japanese women have always loved my films, even when no one else did. Ever since I made 'Maurice' in the 1980s, I've been getting hundreds of letter from Japanese girls. They definitely have a special place in my heart.
The whole series is black-and-white, so when I went to shoot one of the women I only had black-and-white film with me. She had reddish hair and was a very pretty girl, a nice girl.
A problem was the lack of cooperation of the Afghan community itself. The women, though living in Iran, were under cover and not willing to participate in the film, and none of the ethnic groups were willing to work together or be together.
We don't want to be our own niche. We're filmmakers like everybody. How many years in a row are we going to talk about the fact that we make films and we are women? Enough already.
In most of the European countries - France stands out in its resistance to this particular form of American cultural imperialism - the national film industries were forced onto the defensive after the war by such binding agreements.
So, I created these creatures called The Frightened Ones which in the film you see do have mask like kind of heads and they run beneath the ground to hide. Which is what in fact we did during the war.
Most people learn all about the Second World War in school, or else, they see so many films put out by Hollywood, that it's easy to think we know exactly what happened.
One of the elements in the film that really fascinated me was not to look at the world in bi-polar terms of us vs them or east vs west, which was a by-product of the Cold War.
And if there was one title that could be applied to all my films, it would be 'Civil War' - not civil war in the way we know it, but the daily war that goes on between us all.
The only other human endeavor on which there's more 16-millimeter film than pro football is World War II, and we're going to pass that in 2013.
Yeah, you’re right about having entire rooms full of film and photos… in that Sydney Mines house I have a darkroom, I have boxes of film and home movie footage… I have a few projectors, I have piles of Kodachrome slides… I like photographs. T...
We were poor back then. Not living in a cardboard carton poor, not “we might have to eat the dog” poor, but still poor. Poor like, no insurance poor, and going to McDonald's was a really big excitement poor, wearing socks for gloves in the winter...
As the wildly favorable word of mouth spread, however, the box office receipts began to soar. First, fans of musicals came. Then the ever-growing cadre of Julie Andrews devotees. Finally, those longing for a happy ending—anywhere—began to turn ou...
Shosanna Dreyfus: [in French; subtitled] I am going to burn down the cinema on Nazi night. And if I'm going to burn down the cinema, which I am, we both know you're not going to let me do it by myself. Because you love me. And I love you. And you're ...
