I think I'm a very American director, but I probably should have been making movies somewhere around 1976. I never left the mainstream of American movies; the American mainstream left me.
I like working in both movies and television. Television is faster, not very much rehearsal and a lot of material is shot in a day. Big budget movies are luxurious in terms of the schedule. Independent films often shoot fast as well.
On the movie side of things, the difficulties come with so few movies being made, and when they are, it seems that it's a marketing game. Story sometimes takes a backseat to that one grand marketing idea.
Well, I haven't really been able to shoot in California for a while. Little movies yeah, but the big movies we can't shoot there. It's just a shame that Arnold Schwarzenegger can't deliver on this level.
I'm a big movie fan, and I want to make movies in every genre. I want to make my romantic comedy one day.
The biggest mistakes I made in my career were when I said, 'If I do this movie, I'll be able to do a couple more movies.' Those are the times I really got ugly.
I really have problems with horror movies. I don't watch them. It's a feeling I don't want to have in cinema. I'm too reactive. It's too draining to watch that kind of movie.
I've worked on movies that are being rewritten as you go, but you take so long and so much time doing it, that it's not really an issue knowing what's going to happen or how the movie is going to end.
One of the reasons to do documentaries is that. There's more sense of creating something, more sense of my own soul in the documentaries than in movies, because I don't write the movies I do.
It can have an enormous effect because big budget movies can have big budget perks, and small budget movies have no perks, but what is the driving force, of course, is the script, and your part in it.
Most people are interested in seeing 27-year-old women who are in movies somehow connected to sex. It's interesting to everyone. Especially little movies that are having trouble getting made, there's always sex.
I always loved silent movies. I was not a specialist, but I loved them. And when I started directing, I became really fascinated by the format - how it works, the device of the silent movie.
I use to watch like maybe three or four movies, five days out of the week. I was a movie buff, but I really didn't know what it was like behind the scenes, or the whole political process of it.
I have a lot of things I want to do. I have a lot of fire. I want to do film. I want to do action movies. I want to do period pieces.
I made two movies very young, and then I had trouble getting a movie made, and so - which was both, I think, a plus and a minus. It was a minus because it made me unhappy.
Although I'm not actually embarrassed by this, I tend not to read books that have awesome movies made from them, regardless of how well or badly the movie represented the actual written story.
I wonder if that's hurt me at the box office. Maybe audiences these days want to know exactly what to expect when they go into a movie, and my movies are hard to explain in just one way.
We have a very wide range of content, but the brand-newest movies, what's happening with those is a $30 pay-per-view option - not from Netflix but from DirecTV and others - of movies that are in the theater.
Movies are a director's medium, and they end up getting less credit than actors. They get the flak if the movie doesn't do well, and the actor walks away with most of the credit if the film does well.
There was a time - before I made movies - when I was more forgiving, but now that I've learned as much as I have, I want to do movies that I want to see, that have their own unique flavor.
I wonder if games are maybe a terminus for ideas. Things can be books or movies or operas or plays, but once they're a game, that's where they should end. Things shouldn't start as games and be taken to movies.
