Well, I just think through your career you go through different phases, and I just got sort of uninspired by the whole studio process of making and releasing films.
Godard is incredibly brilliant, the things he says. Apparently here in France, the most interesting thing when a new film of his is going to come out are his press conferences, because he's so brilliant.
I'll tell you what 20 years teaches you - is that if one thing doesn't last something else will come down the pipe and to go from that and to do these films now.
I think every credit you get and every film you have your name attached to makes things a little bit easier. It definitely opens doors up, but it's still a grind.
A definite highlight was doing 'The Brothers McMullen.' Shooting that movie was such a joy - and then we wound up winning the Sundance Film Festival. That big-break moment is visceral. It happens once in a decade, maybe once in a lifetime.
My childhood dream was always to be on Broadway. I wanted to end up in TV and film. It's kind of flipped, and I'm not mad about it, but my childhood dream is Broadway and I want to end up there.
Australians just don't see that many Australian films, but it's also our responsibility as filmmakers and the responsibility of the funding bodies to remember that audiences want to be entertained, and people are entertained in lots of different ways...
Our literary culture is marinated in deep traditions of the fantastic and the supernatural, and we export those rich qualities in films and books on a spectacular industrial scale.
When I want to support a film starring actors I like, I purchase several tickets at the box office - even if I can't stay for the movie.
Film is a very tight little box. If you don't fit in that box, you're gone. Television, there's more room to move around.
With digital, you do have the advantage of having an absolutely rock steady image because there's no projector gate, no perforations, no film weaving through a machine. And there's no dust and no scratching.
San Francisco has long been a leader in the arts, nurturing generations of painters, sculptors, poets, novelists, playwrights, film-makers, and performing artists and innovators of every kind.
I think that the reason why 'Goats' is called 'Goats' is because you can't give direction to goats. They do what they want. That's the point of this film.
I began to realise that film sees the world differently than the human eye, and that sometimes those differences can make a photograph more powerful than what you actually observed.
Perhaps I am old-fashioned, but black and white films still hold an affectionate place in my heart; they have an incomparable mystique and mood.
I've directed enough in the theatre and a couple of films to know that - to feel fairly secure that if I find a story that I really like I can probably get it done somewhat.
On a live-action movie, things happen that are unexpected. In animation, you have to fabricate the feeling. That takes a tremendous amount of nuance until the film becomes sentient and gives back.
I scored a movie called 'Endangered Species'. I worked on another movie called 'Staying Alive'. A German film called 'Fire and Ice'.
Because I trained in theater, I always leave a film shoot feeling like I haven't done anything, like I just sat in front of the camera and whispered, essentially.
I'm always attracted to lower budget, not because it's lower budget, but because they tend to be better scripts. It's the scripts that tend to be the small arthouse film that tend to be more actor-led and character driven.
When on the set of a film, you have to play natural for entire scenes in a very unnatural environment. You have to express emotions and interact with other actors and also use your voice.
