Just trying to get a film made which is always difficult no matter what kind of a budget you have. Not having a budget makes it even more difficult. Having nineteen days and no budget makes it extremely difficult.
I have been portrayed by actors in three television documentaries, two plays, one musical and a film. It's no fun watching yourself being traduced and imitated by an actor.
I'm drawn more to quality, and so if the quality is in television, I go in that direction. If it's in film, I go in that direction. But I don't limit myself or discriminate against any of the mediums.
Films, fiction, can encompass a whole global vision on a particular subject with any story, whatever it is. You can play the story in whatever country with whatever language in whatever style you want to tell the story in.
I started singing for The Phantom in January, and we started filming in October and I sang all the way through to the next June. In fact, I was singing for about two months before I even knew I had the role.
I didn't really watch action films growing up! I grew up on stuff like 'Anne of Green Gables' - that was more when I was in elementary school. It was all I ever watched.
I knew the term Stepford Wife, and I knew what that meant. I never read the book, and I think before I started filming I watched the movie. I thought it was very dated.
Where past generations had film cameras, scrapbooks, notebooks, and that part of the brain which stores memories, we now have a smartphone app for every conceivable recording need.
Dividing everybody into genders and sexuality and races and religions, and I think it's important to have films out there, to have discussions out there which really try to get to grips with where that kind of thing can lead.
I started, obviously, doing theater, and I always thought that I would; in a way, I always thought that I'd be a theater actor. When I was starting out, I didn't really plan on making films, actually.
One of my problems with a lot of things I watch is that everybody's too pretty, and it takes me out of the film because I'm thinking that all these people look like I've seen them in a cafe in Los Angeles.
The big studio era is from the coming of sound until 1950, until I came in... I came in at a crux in film, which was the end of the studio era and the rise of filmmaking.
T.V. is the place to do the kind of films that were done in the 40s and 50s: the little guy against the system. There are so many opportunities in T.V. to do more character pieces. Everything is so hard-edged in features.
Films do seem prestigious and glamorous, but when you create something, you want people to see it. TV still reaches so many more people; it still really appeals to me.
I'm hoping that word-of-mouth on the film - people seeing it and liking it - that that will drive more people to the theaters, because I haven't seen the billboards or the posters or anything.
I have a Tony Award now. It hasn't changed too much in the theater world, but it gives me entree for film stuff and TV stuff, where people will see me more easily now because they know me.
I don't do facials or any of that stuff, but my workout regime does tend to depend on whether I have to take my top off in my next film because otherwise I know I'm too heavy.
I despise the phony, fancy-pants rhetoric of professors aping jargon-filled European locutions - which have blighted academic film criticism for over 30 years.
Some film actors want to sit back and look at every scene and all that crap. No, you're an actor - tell the story, and when it's told, there's another one to tell.
After I did Untamed Heart I wanted to do a film that was outrageous. I really wanted to do, you know, a performance. I don't want to allow my image to rule the choices that I make.
People gave us everything for free. We were allowed only so much film per picture, but there was no limit to the creativity. I like to say that they let us loose like wild dogs in the streets of Paris.
