I try to see my films just once. it's like a dream you've been through when it's been intense, and you just have to go through it once more just to make sure you've had it.
When I'm making an American film, it's more safe because there are so many people on the set to watch me. Whatever I do, they say, 'What are you doing!? Tell me first!' There are so many restrictions.
I think that three-act fundamentalism in film culture is a problem sometimes, because it's almost too obvious, or it's too expected. And it's not the only way to fill two hours, or to phrase things, or to order thoughts, or order ideas.
I became interested in film making at around 16, when I discovered a friend of mine had a HI 8 camera which belonged to his father, which we were forbidden to use.
I dropped out of school at 17 and joined the Irish band The Frames, getting my first glimpse into the world of professional film making while shooting of a number of rock videos.
There are two different stories in horror: internal and external. In external horror films, the evil comes from the outside, the other tribe, this thing in the darkness that we don't understand. Internal is the human heart.
There are some long silences in Scandinavian and some Japanese films, when the audience knows action is taking place, but the audience hears no action.
I have a bee in my bonnet as to how few black historical figures one sees on film; incredible stories, stories from which we are living the legacy and which just don't get made.
You have to learn to express differently. Whenever I do TV or film, I ask if I can see the shot to see, to see if it's full body or a close-up. That helps me understand how to communicate.
I do remember smiling quite a bit inside it though since I knew it wouldn't be seen on film - so of course while the poor planet is being blown up I'm smiling and laughing like mad!
When watching 'The Passion,' Jews and Christians are watching two entirely different films. For two hours, Christians watch their Savior tortured and killed. For the same two hours, Jews watch Jews arrange the killing and torture of the Christians' S...
I was born in Kodiak, and I was raised in a place called Dutch Harbor out on the Aleutian Islands. There's a show called the 'Deadliest Catch' on the Discovery Channel. And they film it on Dutch Harbor where I grew up.
In this film George presents issues that are important, essential and vital, whoever you are, about constitutional rights and the bedrock of a democracy. I am drawn to those kinds of stories because they inspire me - they are responsible to a populac...
It was the point where things became much more abstract and less literal than in the bulk of the film, which was hardcore rockets and space and planets - all a fairly straightforward evolution from what I had been doing before.
In the first place, it's surreal to watch filming, to see the little ideas you had in your head and now Taylor Kitsch is doing it, or Salma Hayek. And then to see it loud and bright onscreen is a trip.
The nice thing about building up your own studio is if Hollywood decides to hate faith-based films, it doesn't matter to us. We have an audience and continue to serve that audience.
I gained a lot of confidence after 'IP Man' as being a true actor. I went on to tackle what it is an actor is supposed to do before a film. Do a lot of research, get into the character. That's what I did with 'Dragon.'
A lot of people don't realize, when you are acting in a martial arts film, you're not just performing martial arts. You're not just performing martial arts. You're actually acting as much as any other actor.
I don't know if I'd want to do that anymore, because you always get bigger laughs on college campuses. So, when the film plays in front of a city audience, you've probably cut too loosely.
Whatever I do, it's crucial to me that I give it 100 per cent. It doesn't matter if it's a short film, stage, theatre, TV or blockbuster. It doesn't matter what level of budget or prestige it is.
After watching films of Jim Brown, I noticed that he never ran out of bounds. He always ran North and South and that's what I turned my style into. I was a North and South runner.
