I never thought of becoming a director. When I was twelve, the passage from silent film to the talkies had an impact on me - I still watch silent films.
In film, I don't think I'd try directing. Maybe one day, but I'd certainly want to go to film school or something before I tried to do something like that. That would be quite scary.
I prefer working on films. I like the variety. There is nothing better than playing a bad girl for two months, then playing someone sweet for the next two. Films give you this opportunity.
The difficulty with the present state of affairs is that there is no legislation on the sources of funding for the Polish film industry. There is no legislation concerning filmmaking. And, there is no legislation on television that would be beneficia...
In the first years after 1989, films were partly financed from the state's budget as well as by public television. Still, except for a few special cases, most films are made this way.
It would be flattering to call it a modern Dirty Harry, but I think this film deals more with the loss of his wife than the traditional revenge vigilante films.
I wrote Murder at the Windmill. And it was accepted and we made it and it was the first film I made with Danny Angel, well the only film I actually made... I made a lot of it at the Windmill itself.
I don't have a preference between theatre and film; I like to do both. But I will say that there's something about theatre that is more nourishing and sustaining than film ever can be.
I think there are specific times where film noir is a natural concomitant of the mood. When there's insecurity, collapse of financial systems - that's where film noir always hits fertile ground.
We're still working out the details, but I'd be delighted to do the film. The problem at the moment is my busy schedule. Shooting on this film has been extended by a month, but I need to be in the U.S. by Dec. 20.
I'm so not interested in producing, other than doing my own work, producing my own films. I only do it as favors, for other people to get their films made.
I actually don't see that strong of a connection between my background as a rock 'n roller and my early films. In a way I think your musical identity in film work is determined by the jobs that come your way.
The writer must be a participant in the scene... like a film director who writes his own scripts, does his own camera work, and somehow manages to film himself in action, as the protagonist or at least the main character.
If you work with big stars, then they become the lead actors. It's not that I don't want to do films with big stars, but I would rather do the films where I get the title roles.
I learned that you can make a sci-fi film that is satisfying overseas. European people have everything in check. I'd make every sci-fi film in Europe. They only work 14 hours a day. After that, it's overtime.
My so-called 'reservations' and personal comfort zones can't define my work. That's not being professional. I feel that even if an actor is cast for the lead role or for any other part in the film, it is his job to do the film and not create an issue...
Coming out of the '60s and the Vietnam War in America, it was commonplace for people to make films that had relevance to them. And since the '70s, cinema has gone almost entirely in the direction of spectacle and escapism and superhero films.
When I went to the cinema as a boy, when I saw a war film, I thought the general was the star, and that Cary Grant was an extra. I had no idea about the structure of film, but I loved going to the cinema.
How promising today's generation is. They can whip out their cellular phones like sheep, instantly take a million digital photos of their cat and then just delete them. But I'd like to see these kids try to artfully use a traditional film camera or m...
[about Tyler splicing frames of pornography into family films] Narrator: So when the snooty cat, and the courageous dog, with the celebrity voices meet for the first time in reel three, that's when you'll catch a flash of Tyler's contribution to the ...
A myth... is a metaphor for a mystery beyond human comprehension... A myth, in this way of thinking, is not an untruth but a way of reaching a profound truth.
