I don't care how much hardware you throw at an audience. If they are not emotionally invested in the thing, it's zero. I can name a slew of films, but I have no ax to grind. I understand the commerce of Hollywood probably better than anyone.
I loved 'Saturday Night Fever' when I was a kid. I couldn't believe people talked that way. It was just a whole new culture I didn't understand. I snuck into it. It was an R-rated film. So it holds a special place.
Watching the completed version of The Two Towers for example, I was very conscious of scenes - sometimes whole sequences - that I had seen being filmed or edited but which hadn't made it into the final cut.
When I did the video for 'Holding Out For A Hero,' we filmed that on top of the Grand Canyon, and that was quite frightening. I was close to the edge, and there was a helicopter hovering about, creating a lot of wind, and I was nervous I was going to...
I was always a writer - working on campaigns was never a profession for me. It was something I did on the side, really, so the trajectory hasn't been a political operative who likes to dabble in writing and finds himself into stumbling on film and TV...
I just have more fun when I get to try new things - and the action film genre has kind of painted itself into a corner, copied itself so many times and it has basically run out of bad buys.
The Obama administration leaks classified information continuously. They do it to glorify the President, or manipulate public opinion, or even to help produce a pre-election propaganda film about the Osama bin Laden raid.
Because when the film was first mooted, the Beatles didn't like the idea at all. In fact they wouldn't have any part in it. And when Brian had committed them, it was part of a deal he did with United Artists, I think.
The only reason why you should do a film is because it creatively carbonates you and gets you going. If you're doing it for any other reason, you've lost sight of why you're acting in the first place.
With film, you read the whole script three or four times, and you really have a solid blueprint of who your character is. Whereas in television, that blueprint is constantly changing and adapting, and sometimes you have to take a risk.
It's interesting - in 'Fail Safe,' as well, they didn't back off. We were raised with kind of this spectrum of that Armageddon and lived under it, so those were probably the films. 'Fail Safe' sort of haunted me.
Any director, if you really ask them, will tell you that the toughest thing to do is like a dinner table or a dialogue scene, because you need to keep that electricity maintained throughout the course of the film.
Most films I've worked on have had large casts, but they've been wonderful people. I think the monkey in Pirates of the Caribbean is the most temperamental costar I've had. It would throw tantrums like you wouldn't believe.
First of all, in the old days, if you wanted to show someone getting shot on film, all you could do was place an effect in the original take. And if you wanted to brighten somebody's face and leave the rest of the room dark, that was a very expensive...
It's about not letting the internal enemy, the real enemy, have his way because the more he does the stronger he becomes. The film's about the devastating results that can manifest from the internal enemy being unbridled and allowed to unleash chaos.
Jake Green isn't just Jake Green. Jake represents all of us. The colour green is the central column of the spectrum and the name Jake has all sorts of numerical values. All things come back to him within the film's world of cons and games.
Digital has obviously changed things a lot, but not all for the better as far as I'm concerned. Of course it's much more convenient and you're getting instant results, but to me it just lacks the finesse of a roll of film and it has a slightly superi...
There's a lot of films that have relatively rigid road maps because they have a script and others that are less rigid because they have less of a script, like 'Elephant.' The road map becomes more interpretive, maybe, than one with a detailed script....
Usually I'm frustrated when I look at my films and I don't believe that I've made a real transformation beyond my usual sets of gestures and expressions. I still have this nagging feeling that it's me, that I didn't create a unique character.
Well, you know I have an office, my film offices. So I know that syndrome. I fancy offices, so there must be something wrong with me. Even the window cleaner intrigues me. It's a very sexy environment.
Film is something that reaches so many people. How many people are going to go into a gallery? And understand what they're seeing? I think about the guy walking down the street, the guy who drove me here - this guy has the opportunity to go the cinem...
