I am not interested in considering another TV series. This one was a wonderful experience which will be hard to top, and It's caused me to turn down several good film opportunities because of the schedule.
It's not good just to have life experience of film-making and that's all. It's hard to play a real person when you've been in jets and town cars for three years.
Ron Howard is as good a person as you could want to work with on film. He never lost his cool. He's the most easygoing, lovely man, but he's got this enormous intelligence and a wonderful humanity.
No, it's interesting to remake a film for the contemporary audience today. I think it's a good idea; it needs to respect the original idea. Don't just take the title and change everything else.
Sometimes in films it's nice to have violins on either side, rather than on one side, so you've got more of a stereo picture with the violins. Sometimes it's good to have the basses in the middle.
I am blessed with a good metabolism, and as long as I work out, carbs don't add to my weight. If I need a leaner, meaner look for a film, I go off carbs for a bit.
The reason that some motion-capture films don't work is if the scripts are not good, and the characters aren't engaging, then you don't believe in the journey, and you're not connected to it. It's not the technology's fault.
It's interesting going between small parts and then bigger roles where you carry the film. If the writing is good, and if the people involved have integrity, then you'll do it, even if it's only five minutes on screen.
To try and raise a budget for a film that is strictly for adults and both strong and graphic in content is not easy, especially when there is pressure to spend serious money on good special effects.
Always changing genres, making very different films is a good idea. It's a way of making yourself feel vulnerable again, getting back to that innocence. As is working within a circumspect budget.
If you're clever enough and creative enough to get a good film made, then you should be clever enough and creative enough to find ways to get it out there, one being something like Jameson First Shot.
I think there's a lot of elements that go into making a really awesome horror film and that's like putting together like a real good group of people that you love to watch them either live or die.
I like to go from mainstream movies to more artsy films. I don't sign on for the money. Maybe I should, but I don't. There's always a good reason for doing something.
Although there were only about 24 episodes made it seems to run forever. They take a couple of episodes and put them together, making a feature film once in a while. I had good fun making the series.
Yeah, I'm certainly a lot more confident on this one than I was one the last one, which I think can be a good thing and a bad thing. But, at least I slept while making this film.
If you start with a good idea, you can encapsulate it in a phrase and explain it. I like high-concept films. Everyone can get hold of it. I don't think there's any harm in that at all.
Fundamentally, whether directing in the theatre or a film, you have to be a good storyteller, regardless of the form. The thing I had to work hardest at was thinking in shots.
I went to film school at UT Austin. I learned a lot, and that school's good for puking up all your bad movies early and quick. But ultimately, no one can teach you to be an artist.
So many people wait around for funding, and if they're unsuccessful, they don't make the film; if you've got a good idea, that seems so pointless. There's always a way of doing it; you've just got to find it.
I can't say that I wouldn't prefer to make small films, basically because I think they are probably more interesting in terms of the material. But every now and again, it's quite good to do a big one.
I like to rehearse with the actors scenes that are not in the script and will not be in the film because what we're really doing is trying to establish their character, and good acting to me is about reacting.
