To be involved with movies that become kind of cult classics... I've been very fortunate. 'The Warriors' is certainly a cult classic, and 'Xanadu' is, to a certain degree, a cult classic as well.
I don't like gratuitous violence. I don't like the 'Saw' movies. I don't like the 'Hostel' movies. I don't like anything that is violence for violence's sake.
I loved the 'Die Hard' films growing up and the 'Taken' movies. They're so entertaining, and I enjoy being on the edge of my seat.
I didn't really want to act. Gerard Depardieu discovered me when I was 14 and asked if I wanted to make movies and I said, 'Why not?'
Comedy. It was just huge in my house. Peter Sellers and Alec Guinness, Monty Python and all those James Bond movies were highly regarded.
Technically, maybe I learned most of all from George Stevens, and among his movies I learned the most from 'A Place in the Sun.' It's a lesson in moviemaking.
You know, I started doing movies. I mean, my mind was brought into saying, 'You know what? I want to build a generation of wealth.'
I like 'Star Wars.' I mean, I don't go to the conventions and dress up like Obi-Wan Kenobi or anything, but I like watching the movies.
I would like to see a fierce Fantasia mixed with Blade Runner, Lord of the Rings, and Star Wars all in one. That's the kind of movies I want to make.
I've been in enough movies to know that when you're on the set and you start shooting, you're looking at playback and you get a sense of what it's going to be like.
Other people have worked with big studios and maintained control over their movies. I see no reason why it wouldn't work for me.
I'm an outdoorsy guy, but I also enjoy the average teenager stuff - video games, movies, hanging with friends. I'm just a normal guy!
We need more extreme movies in Sweden. Personal projects that are necessarily made for a bigger audience. I think it creates a creative lock-up to have the audience as a goal.
I had the standard movie geek childhood, because for as long as I can remember, all I wanted to do was make movies.
There are movies I've seen or books I've read that attach themselves in a way that's greater than the ability to understand why. How do you explain that kind of connectedness?
The only economic paradigm that movies have ever known is capitalism. There were no church sponsors or state patronage. The idea was that if you'd pay to see it, we'll make it for you.
If you were my agent and I was making $10 million a movie and made four movies a year, that means you have a salary of $4 million.
When I began making films, they were just movies: 'What's the new movie? What are you doing?' Now they're called 'adult dramas.'
You know, it's not the people in Hollywood who go to see movies that will make a movie successful; it's the people all around the country; it's word-of-mouth.
There's no way I'm going to put this kid in the movies, because of the rejection. It's so hard as an adult, so why set her up to feel that bad as a child?
I like to watch films with my wife and friends. That's how films should be watched. Only then can you enjoy the movies. Then whether it is raunchy or not, hardly matters.
