I was in the school plays, I did a lot of music. I carried on through university for short films and loads of plays.
Editing is where movies are made or broken. Many a film has been saved and many a film has been ruined in the editing room.
I think I'm drawn to films more as a director with a directorial mind even as an actor. I make movies to make the films, not to act.
I have not grown up on movies. I didn't watch much films in my childhood, but I was fond of animation films.
Film school was a privilege I could not afford.
The secret is not to make a film that causes something like Virginia Tech to happen. The secret is to make a film that stops it happening.
My own personal taste in films as a member of the audience was not completely in line with films I was doing.
The only difference between working on a huge-budget film and a lesser-budget film, is the quality of lunch and dinner.
I think when you work on a Woody Allen film the actors become a real company, probably more than on any other film.
But I won't work with the exact same crew film after film because I feel the work would get a little complacent.
Live theatre provides a rush you can't get in film or television. But it is the TV and film work that offers the leisure to go off and do a play.
...each reader creates his own film inside his head, gives faces to the characters, constructs every scene, hears the voices, smells the smells. ...whenever a reader goes to see a film based on a novel that he likes, he leaves a feeling disappointed,...
I don't put any pressure on myself in terms of what people or fans do or don't want. It really just doesn't occur to me. I honestly just want to make the films I want to see as a fan. The film will survive or fail in my mind by how much I like it. Ha...
I have two different categories of favorite films. One is the emotional favorites, which means these are generally films that I saw when I was a kid; anything you see in your formative years is more powerful, because it really stays with you forever....
What I've been doing with my misfit, so-called acting career in film from day one on my first film, 'Spanking The Monkey', is, I've kind of made a concerted effort to hijack my acting career to turn it into film school, because I've always had the bl...
Ray: What are they doing over there? They're filming something. They're filming midgets! Ken: Ray... [Ray runs off and watches Jimmy being instructed by the director, who Jimmy flicks off as soon as he leaves] Ken: Ray, come on. Let's go. Ray: My ars...
One of the reasons I did 'Louie Bluie' and 'Crumb' with Criterion was because I like a lot of their older French films. That's the only reason. I watch these films by Jacques Becker and Jean-Pierre Melville. 'Touchez Pas Au Grisbi,' stuff like that. ...
Fear is a problem with film music and films; people want to be conventional, and there's more commercialism today. If you are not daring in your art, you're bankrupt.
The demarcation between an art house film and an entertainer has blurred, only because a larger section of the audience has accepted such realistic films.
When art in general, and film in particular, succeeds is when it pulls you away onto a voyage. Then it's a good film.
I did a short film called 'Disco' and won an award for Best Supporting Actor at an indie film festival, and that was nice. Hopefully there's lots more to come.
