When you work on a Jerry Bruckheimer film, you can be sure of two things: no production value will be spared, and the catering will be as fine as any really really good restaurant. Jerry is an amazing producer, with a commitment to his films second t...
With today's fast films, you can light the way your eye sees the scene. You can abuse the film and create subtleties in contrast with light and exposure, diffusion and filters. That's what makes it an art.
You create a work of art. You do not know whether it will get public sanction. Sometimes outstanding films do no business, and sometimes films which are not so good work.
A book is one kind of an art form and a film is a different art form. I think as a writer you just have to say, well the book is one thing, and the film is a completely different one.
I started using film as part of live theatre performance - what used to be called performance art - and I became intrigued by film.
Independent film is almost nonexistent right now, because all the distributers that used to love to put out these little art films are all out of business right now, because it costs so much to open a movie.
I think there's escapist moviemaking, and we want to be captivated and taken away. If it's done right, you can craft an incredible film. There have been superhero films that I think are brilliant pieces of art.
An artist must either give up art or develop.
ANYTHING IN THIS UNIVERSE CAN BE A STORY WORTH TELLING, AS LONG AS YOU KNOW HOW TO BEST TELL IT.
Unfortunately for critics and audiences alike, I have made several films, and some films with really terrific actors. And I say this at my own peril, but Marion Cotillard is the best actor I've ever worked with.
If two of your films don't do well, people say you're out in the cold and your career is over. One film does well, and you've had the best year of your life! I don't believe in all that's written.
For seven years, I made films in the cinema verite tradition - photographing what was happening without manipulating it. Then I realised I wanted to make things happen for myself, through feature films.
They say now in America that final cut doesn't mean anything. As Harvey Weinstein said to some film-maker, 'You can have final cut. I'll open your film in Arkansas.'
'Raiders of the Lost Ark' made me want to make films. I am wild about the films of John Carpenter, Ridley Scott, Howard Hawks and Sam Peckinpah.
I've shot films in locations that have seemed haunted. I shot a film in a maximum-security prison in Russia. Part of it was on a psychiatric ward - there were definitely some creepy vibes there.
The challenge to me as a director was for the audience to see the film as going on in a straight line, so that they did not sense all of these break-ups. I did not want a film to be a collage of all these images.
The most frustrating part of working in TV and film is that you have to convince someone to let you make what you want; in comics you can do whatever you want and for 1% of the budget of TV and film.
Each performance and each film is what it is. It's right and belongs within that moment. You look at it and try to make it fit your particular part of your character and your particular film.
When I started in the late 1950s, every film I made - no matter how low the budget - got a theatrical release. Today, less that 20-percent of our films get a theatrical release.
I ideally would like to do three films every year. Every day, I pray for it. But I should like a script before I sign on a film.
I'm in the process of working out an arrangement to make some very, very, very small films in the midst of all these films and maybe that will help. But you get tired of talking. You just want to do it.
