I get impatient with people working on a film that have their head in their hands like it's the most complicated thing in the world.
My films have been progressing towards a certain kind of minimalism, even though it was never intended. Elements which can be eliminated have been eliminated.
I think Woody Allen is Woody Allen, and no matter where he goes he still makes his Woody Allen films.
I feel like people want there to be this mystery between film and theater, but I just kind of went where I got jobs, you know?
The shot [in the 1956 film ] with Dorothy Malone walking down the stairs makes all rock videos ever after resemble forgotten, anemic nuns.
I've always been interested in films where you can identify with the actors. Where you can be in their shoes and therefore be more involved if they're people that you recognize.
I'm sure every film it's going to be like, 'Okay, this is the scene where your shirt gets ripped off.' I'll never be able to keep my shirt on.
I had never thought of myself as a director and found out that I was not. I am a writer who was able to direct the films that I write.
Look at it this way: if you write the novel of 'Cold Mountain,' it costs exactly the same to produce and market as a novel set in a room. If you make the film, the disparity of costs is huge.
Rain is also very difficult to film, particularly in Ireland because it's quite fine, so fine that the Irish don't even acknowledge that it exists.
I like to think of film-making not just as an act of personal self-aggrandisement but rather as an act of public service.
I think if you watch most of my films with the sound off, you could still tell what's going on.
That's easy to answer: I never had any special appetite for filmmaking, but you have to make a living and it is miraculous to earn a living working in film.
For me, what is most important is the element of surprise. If I can surprise you with every film of mine, that is exactly what I am trying to do.
I've been lucky to get some path-breaking films, which proved to be the turning point in my career. Be it 'Rock on!' 'The Last Lear' or 'Raajneeti,' directors started working in a different way.
I relate to Nora's transformation in Henrik Ibsen's 'A Doll's House,' and I also relate to both sisters' journeys in John Madden's film 'Proof.'
I really loved making 'A Walk to Remember', so I'm not afraid of making smaller films. But for me, I just need to connect to the characters.
I have to say that as an actor, I really look for the role. I'm not really looking to see if it's for television or film, because there are highly talented people in both mediums.
I would like to, especially in film, play against type and do some heavier stuff. I'm intrigued by projects that deal with problematic people and things.
I wouldn't mind being in an American film for a laugh, but I certainly don't want to be in Thingy Blah Blah 3, if you know what I mean.
The film, even when we were making it in that budget range, which was really a coup - we got it made because we pitched it to the studio head, Joe Roth.
