I grew up kind of in the country, in western Georgia. And then I moved a lot closer to Atlanta, and I started doing plays, and when I started doing film, I think I really started to love it.
I am really not of the school of naturalism. I like style, and you can use more style in theater than in film roles. I love to sink my teeth into a part.
I was always in love with film and becoming a character and playing something else, and nobody ever told me no, so I just followed it, and here I am, having a ton of fun.
I made a film called 'Bad Timing' that I thought everybody would respond to. It was about obsessive love and physical obsession. I thought this must touch everyone, from university dons down.
You really just have to love the process. I can't tell you the amount of film sets I've been on where people are talking about Oscars in the middle of the production. It happens all the time.
I don't understand why there needs to be a love interest to make women go see a film. I think society sort of makes us feel that way - that if you don't have a guy, you're worthless.
Well, first of all, making films is a collaborative process. You need people. You need people you trust and love and who are your friends. People you can work with.
I was in love with this character of Ray Krebbs. I wanted the part badly. I had done several Western films in my career at that point and there wasn't much opportunity then to play Western roles on television at that time.
I'd love to direct a film, but I don't think I have the temperament for it. I'm very hyper, and I want things to be done ASAP. If I turn director, I might end up killing my actors.
I love the Cannes Film Festival. From the lavish parties and events to the red carpet attire, this star-studded week-long event is where I get a lot of inspiration for hair and fashion.
I love theatre because that is my foundation. So, if I had to make a choice in terms of where I get the most fulfillments, it would be theatre. The reaction is so immediate, unlike with TV and film.
I've been very fortunate. I've been in theater, films, television, radio, tragedy, comedy, farce - I've been in a musical and in music halls, in pantomime. I was once ringmaster in a circus.
An Emraan Hashmi film has come to guarantee certain ingredients: An intense, grey central character, a beautiful girl - if he gets lucky, then two - couple of kisses, a few bold scenes, fabulous music and a climatic twist.
The implications are clear: Facebook wants to build an Internet where watching films, listening to music, reading books and even browsing is done not just openly but socially and collaboratively.
I've always been drawn to stories and telling them; whether it was through being a part of theater when I was a little kid, or film, or with music, there's just been an innate desire to feel that connection.
With Dick Smith there, and the words of Peter Shaffer... they've got to be the most beautiful descriptions in music ever written on film or in literature. And we could hear the music accompanying the words... What more can you ask for?
I was lucky enough to be the lady that was asked to be Maria in the Sound Of Music, and that film was fortunate enough to be huge hit. The same with Mary Poppins. I got terribly lucky in that respect.
I don't watch my films. I've seen 'em enough after cutting them and putting the music on. I don't ever want to see them again.
If anyone can figure out how to balance my celebrity and my dual careers in music and film, it's me. I don't feel frightened; I feel challenged.
I record all of my music with authentic instruments in a studio before we start editing, doing many, many versions. The music shapes the film as we edit so it has an organic relationship to the content.
When you're editing the film, you use a temp track. So you're putting music in there for a rough cut to keep track of what's going on. It can be a hindrance if wrong, it can be an enormous asset if you get it right.
