I think feature films sell on the idea, and I think TV works based almost entirely on execution. I don't think anybody is going, 'Wow, that show is executed poorly, but the idea is so cool I just have to keep watching.'
YI think what's cool about 'Scott Pilgrim' is that it shows that there is a superhero within all of us. There's not one ideal image of what a superhero looks like, and you don't really see that until the end of the film.
Almost any film that you do is an opportunity to open you up and make you more aware of an area that you might not be thinking about. That's what is kind of cool, or one of the cool things about this profession.
Violence is a very ugly thing. Violence is often so casual on film, and made to look so cool and so sexy, but violence is a repulsive, repugnant act that human beings inflict on each other. It shouldn't seem to be cool and sexy, ever really.
When I come home and I'm tired from filming all day, I expect her to be there and make sure everything is cool for me. You know, like drawing my bath and helping me into bed.
He's a guy's guy, so it pretty much became like the impressions - don't imitate Sean Connery's voice, and things like that. We were all kind of doing it towards the end of the film, anyway, and he was cool with it.
Any film that exists that is thorough, you can't give it to an audience of one and have that be effective communication. Communication involves an audience of many that have a conversation, put it through the ringer, filter it and then a sense of it ...
I want to stay below the radar and make good films. I have to be careful; I don't want my life to change. I really don't want to be a movie star.
Now, I don't know whether a film can change the world, but I know that it starts - I know the power of it - I know that it starts people thinking about how to change the world.
A government institution called the Finnish Film Foundation funds filmmaking there, and I wrote several screenplays but never got any money. They were sent back to me, and they said that they were too commercial for them.
What I realised is, watching some old home videos, I've always had a weird accent. It's because I spent a lot of time on film sets. But Australia will always be home... I sound like the Qantas ad, don't I?
One of the biggest challenges in my job is letting go of the movie once you go home at night, and knowing you can't do anything to your performance once you've laid it on film.
Practically, I am interested in television because it keeps me home and it's fast, and I exist in independent films mostly, and you don't get paid for those, or you don't get paid enough.
The truth is, working on single camera, show or film, you have no life. You work 60-80 hours a week. You're up before your kid gets up, and you're home when they go to sleep.
I learned how to turn it on and turn it off. You learn that in theater, too, but for film work, I learned from doing 'Henry,' I learned how to leave work at work and go home. There's always spillover. Actors speak of this.
My past films came out on home entertainment in the U.S., so the next question was, how do we get a theatrical in the U.S.? Well, you put a monster in it. That will do it, because people love monster movies.
I'm not the kind of actress that goes home with the character. I mean, you're thinking about the work or the next day's scenes, but not staying in character. But as a film goes on, you become more and more fragile, emotionally. And physically too, ac...
There is a movie called 'My Dog Skip,' starring my 'Outsiders' costar Diane Lane. I do not recommend it. If you have a child, particularly one about to leave home, watching this film is to be emotionally waterboarded.
It was only after Pather Panchali had some success at home that I decided to do a second part. But I didn't want to do the same kind of film again, so I made a musical.
I'll go do films for three or four months and then I can't wait to go home to LA. And I complain about LA left and right, but then I always end up wanting to go home, you know?
I believe in fairy tales. They are the basis of all our performance of storytelling and film-making - when we twist the real events of the world into something that offers us hope - and I believe in that.
