We originally developed 'The Client List' along with Lifetime as a TV movie - my manager and I became partners on the project. Then, we brought in Howard Braunstein on the project and produced it along with Lifetime.
The original 'RoboCop' was X-rated, and then they had to cut it down so it became R-rated, and Verhoeven claimed that actually made the movie more violent, because it's what you don't see that actually scares you.
I don't think every movie should be made in 3-D, and it should depend on whether it's one of these films that's more immersive or needs to be taken to another world. I'm interested in other formats.
When I'm watching television or a movie, I like to see stories that are extraordinary. I don't need it be something that is, 'Well this makes more sense to me because I can see this happening to me, or this happened to me.'
It gives us a look into a world that's very much like 'Traffic' was for drugs, this movie is for gun running. Dark at times, but I think Nic Cage is an incredible person to watch and very entertaining.
As a filmmaker, I'm very collaborative. I don't pretend to know everything that is needed to make a movie. What I like to do is get together with a group of people, starting with developing the story and bounce around ideas.
Take any movie with an actor you like. Turn your head and just listen to the performance. In some cases, the physical presence remains as strong when you can't see the actor, when it's just the voice.
Any adaptation - and I've done three in my career. I did 'Sweeney Todd' and 'Hugo' and 'Coriolanus.' It's important to find what makes it a movie as opposed to just a film presentation of a stage play.
I was a bit odd as a kid, because there were so little outlets for me. There was no theatre except for the odd community theatre and school shows. The only movie theatre was at the Canadian Forces Base nearby in Comox, so it either showed kiddie flic...
I've got a reputation for doing a certain type of film: lads' movies that glamorise violence. The more my reputation as a bad boy grows, the more my life moves away from that.
You know, every country needs another country to mock, and Australians seem to be pretty good at impersonating American people. Maybe it's because all the movies and music and TV you see there is from America, so we just have the knack for it.
In this drawing we just let our imagination run wild. We visualized Superman toys, games, and a radio show - that was before TV - and Superman movies. We even visualized Superman billboards. And it's all come true.
The next time you download a book on Kindle, buy a Michael Moore screed at Barnes & Noble, or order up a political movie from video on demand, remember that it is the Supreme Court's decision in 'Citizens United' that guarantees you the right to do s...
TV showrunners have become known entities to people who watch television in the way that movie directors have been known to filmgoers for a long time. When I started out as a writer and producer in television, I never had the slightest expectation th...
My girlfriend is much better than I am at working hard then resting, and she demands that from me, too. She insists on having time when we don't do anything. We leave the housework and watch a movie.
The last time I did a movie that needed a horse, I said: 'If it moves, I'm out of here.' The worst thing is, they know when you're afraid and act up accordingly. I've had them run off on me. Horses I do not like.
When I look back at this career I've had, I don't know where it goes from here, but certainly any time I can make a movie that's different, that explores something that's not a retread of something else, I'm interested in it.
I was a guy back in the Eighties who was one movie away from a huge career, which at that time didn't happen. In the Nineties, I worked a lot, but it was kind of, 'Get out there and dig and find things.' Then I guess 'The Rookie' and 'Far From Heaven...
There are certainly moments in the story room where you watch the movie die on the table. You put A next to B, and suddenly none of it lines up anymore. We feel that all the time. It's a terrible feeling.
If you're doing an hour-long show, you're working movie hours, doing a 12-15-hour day. We work three or four hours a day, and get every third or fourth week off to give the writers time to write. It's the cushiest job in Hollywood.
I think that one of the nice things about the Yellow Submarine movie is that it seems to be perennial. People enjoy watching from each generation. And it was like the Beatles themselves. You know the Beatles seem to find new audience each time anothe...
