Every Pixar film, when we start developing the story, it takes about four years to make one of our films.
I've always felt that, although Truffaut was greatly revered and admired, at the same time, in terms of film and how much he loved film, he was underestimated.
Some of the smallest things on a smaller film, to me, are greater achievements than on a big film when you have the resources and the time and everything else.
I like the intimacy of independent films and I like the idea that people aren't being paid necessarily as much money as some one on a studio film.
The black groups that boycott certain films would do better to get the money together to make the films they want to see, or stay in church and leave us to our work.
Indeed it can be argued that to make a powerful film you must care about the subject, therefore powerful films tend to be both political and partisan in nature.
I still want to do a romantic comedy or a western or a gritty independent film... there's so much that I still want to do.
When a film is successful, you don't need to shout about it from the rooftops. I don't believe in going into overdrive. There's no desperation to be acknowledged as the reason for a film's success.
I love Philip Glass' work, not only as a film composer but also as a musician. The film score work that he does always amazes and shocks me.
In film, movies' schedules are based on three things: actors' availabilities, when are sets being built, when you can rent the place you're going to film in.
I like to watch films with my wife and friends. That's how films should be watched. Only then can you enjoy the movies. Then whether it is raunchy or not, hardly matters.
My partner, Beth Alexander, and I want to produce smaller films, but commercially viable films that will enable me to make the kinds of movies I want to make.
I like acting, but I like filmmaking better. I went to film school. I want to make films.
When I'm making a film, I don't want my producer to be on the sets. So when I'm producing a film, I don't want to be on the sets!
I like naturally occurring film grain, and what happens to film when it's under- and over-exposed.
Every single one of us who has been a 'Woman in Film' for more than five minutes is sick of the phrase 'Women in Film.'
I have to tell everyone that when I finish a film and it goes out and is released, I never look at my films again. I don't like looking back. I don't even like talking about 'em! So I'm really digging back in my memory because I don't like to sit and...
I don't want you to have to handle it. That's the horror of my past. But you...you're the reality of my present. You're the proof I survived. The prize in the cereal box.
The bloody times, the horror, will just be history to them, words on a page, so how will they dare to judge? Very easily, I should imagine.
I mean Buckingham Palace has never hired a professional public relations outfit let alone a Madison Avenue type and they would throw up their hands in horror at the very idea.
When I was seven or eight, I was bought a fantastic book called 'The Movie Treasury of Horror Movies' by Alan G. Frank; it became my bible. It's packed full of the most amazing photos and is still fantastic to look at.
