With a film, you try to keep your vision in it. I think with 'The American' and 'Control' I managed to do that.
Juilliard definitely emphasizes the theater. They don't train - at all really - for film acting. It's mostly process-oriented, pretty much for the stage.
Personally, I like films that make me a little bit uncomfortable because I think you're uncomfortable when something is real.
It's so exciting to headline a film. It's not every day you see a Latina carrying a full-length feature.
I think the most experimental way to a film is to tell the story the traditional way, because everyone is doing the other thing.
The problem is we are not eating food anymore, we are eating food like products. (Hungry For Change Film)
I can watch films and say how technically beautiful they are, but I'm not impressed by any technicality.
Every film has an origin. It is made under certain circumstances, and that is a very important point that should be kept in mind during a review.
Well, I think just the fact that you are making your first film is a huge step.
As far as behind the scenes, I absolutely want to get into making my own films and producing my own things.
On a big film, there's almost no way you can meet everyone. On an indie, there are 30 people and no trailers to duck into.
I'd even say it's a realistic film because that's the way it happens in our heads; that was the idea.
You learn real early to make a film and then duck, and basically that's how I go about it.
I like it when I go into a cinema and I'm not aware that I'm there; I'm totally involved in the film for two hours.
I never wore a single fedora filming 'L.A. Noire.' It took about an hour and a half to do the hair - it was a very precise process.
Well, I have no problem with 3-D but I don't think it's necessarily a blanket requirement for every film.
I do a film if it interests me, has a connect with the audience and some entertainment value. The rest doesn't matter.
At HBO, they seem to be well-informed. They make what I think are really quite mature films.
I feel the film companies should pay for proper advertising to see that the movie will sell, instead of putting it on our backs.
But in fact if you look at film as a metaphor, only through the negative can you have the positive print. What I'm trying to get to is the positive value of negation.
Well, whether it's on film or on TV, you don't want to throw too many curves at your audio and video guys.
