I went to film school, so I certainly know how to make things quickly and cheaply. But at the same time, I have the experience of working with Steve Starkey for three years. I watched him produce some gigantic movies.
Film is such a bizarre vehicle for acting. It's such a bizarre experience. I don't think you ever really get familiar with it. If you do get familiar with it, you're probably not that good anymore.
With indies, all they have is their script and it's very important to them. The characters are better drawn, the stories more precise and the experience greater than with studio films where sometimes they fill in the script as they're shooting.
By nature, I think I am a pretty private person, and that is what is hard even doing interviews for films that I really love doing, because in some ways, it diminishes the experience that I had.
Hits and flops will come and go. But what stays with you is the experience you had while shooting a film. I am happy learning something new each time.
I think early on in my career, I was heavily inspired by bands like Throbbing Gristle and Test Dept, and films of David Lynch, for example, where the soundscape plays a very important role in the listening experience.
Having had that experience... I think, what modern culture wants to see is the relationship with the woman. I don't think you can tell a story on film nowadays where the woman simply is there for the man when he decides to settle down.
Rarely do I do film press because I'm so low on the food chain of the movie, and for me it's just this thing I did for four weeks before the next tour started.
I think that there's a lot more freedom in the low budget, the independent films where, unfortunately, you don't have the money, necessarily, to get the orchestras in there to play a lot of stuff. But, you have a lot more freedom, very often.
All the characters in my films are fighting these problems, needing freedom, trying to find a way to cut themselves loose, but failing to rid themselves of conscience, a sense of sin, the whole bag of tricks.
You have to struggle a bit, hustle a little, and be willing to go bankrupt. Once you're willing to do that, everything opens up and you get the freedom. My joke is that next year, I'll make the first film that costs zero dollars.
In terms of filming, yes, it really does feel over now. There's a real sense of freedom now. It's a good time to finish, I think. As much as I'm going to miss it I'm ready to move on and do different things.
You must not demand the failure of your peers, because the more good things that are around in film, in television, in theater - why the better it is for all of us.
I think the obvious answer is I was raised in New York City, so growing up, not only myself but my family, like my father, we would watch a lot of Scorsese films.
I was very young, and I was on vacation with my family, and there was a retrospective of old films, and one of them was 'The Phantom of the Opera' with Claude Rains that was in color. It was something very important for my career because I began to f...
It's really wonderful that it's the whole franchise being recognized and it's a collective award. Each film has anywhere between 2,000 and 6,000 people working on it and so really the award is for each and every one of us. We are like a family.
Hallmark makes beautiful films that feel as if they should be watched in a theater. The Hall family knows the power of stories, and they give us unforgettable movies with heart and depth and the resonance of classics.
We have three generations at home, including my father-in-law. I keep a very low profile, and a lot of things I do are very much with the family in mind. I have actually made films with the family around me.
There's more of a family connection when you're working on a TV show. That's not to say that you don't make great connections when you're working on films, but it's different unless you're there working every day.
I look OK. I look better in person than I do on film, which is bad because it's how I make my living, but I am not a beauty and on balance I am glad.
'Sunset Boulevard' - the story of Hollywood movies draped on a depressing sex affair - is an uncompromising study of American decadence displaying a sad, worn, methodical beauty few films have had since the late twenties.
