I don't miss scenes at all the way that I used to miss them when I was younger making a film. It's actually quite fun to get rid of them now.
It's a gamble you take, the risk of alienating an audience. But there's a theory - sometimes it's better to confuse them for five minutes than let them get ahead of you for 10 seconds.
Clinton used to like to get out of the White House a lot. He would take night trips to McDonald's, and stuff like that. I think he wanted to get out of the house.
The green-light meeting, when I first started at Paramount, would consist of maybe three or four of us in a room. Perhaps two or three of us would have read the script under discussion.
As a screenwriter, you have to let go, and you have to hand your baby over and let it go off into the world, which is entirely appropriate.
When it comes to remaking my own films in the English language, I can only imagine that it is a very boring process, I wouldn't ever dream of it.
It's weird - on almost every film I've worked on, the first sequence we storyboard ends up being the first sequence that goes into animation, and ends up being almost shot-for-shot the same.
Each one of the films get built up and strengthened and reinforced, and we're not afraid to rip stuff out and redo it until we feel it's worthy of the 'Pixar' name.
There are a lot of laughs in this movie, but it's not just about the laughs. It's really about the story, about a guy who finds his soul and realizes what's truly important.
Film is an emotional medium; it's not a logical medium. It's not an intellectual medium, so every decision you make as a filmmaker and an actor has to be emotional in some way, even in the rejection of logic.
I don't know how much credit I can take for 'Walker, Texas Ranger,' because I only worked on it for three weeks. I re-wrote the pilot, and then my name was on it forever.
I just figure if you have a modicum of celebrity, you need to use it, and you need to use it for more things than just promoting yourself or your film or your image or your product.
I like taking genres and subverting them. I did that with 'In the Valley of Elah.' I said, 'Okay, this is just a murder mystery. Relax.' And then, two thirds of the way through, I broke every convention of a murder mystery.
I'm a filmmaker, and I was most influenced by Hitchcock's films. How he could plant such deep enriched characters and then make us care both about the antagonist and protagonist was masterful.
When I discovered European filmmakers, it affected me so deeply. It redefined what cinema could be. I mean, 'Blow-Up' ends with a dead body and mimes playing tennis. What?
There were a couple Aborigines in my primary school, but we never spoke to them. They kept to themselves, and we never really even locked eyes. They weren't acknowledged officially either.
Well, there's that girl on the Internet - although this isn't an example of someone who doesn't know they're on - but there's a girl on the Internet who posts one photograph every two minutes from her bedroom.
I've been playing the Wolfenstein games since I was a kid, and feel that their outlandish sensibility has deeply influenced my own writing and directing throughout my career.
I don't want it to be all that self-conscious or artificial, but it really grows out of my having invented myself as a listener so that I could hear her voice.
I began as a boy with artistic talent... as a visual artist... I thought that was what I'd become and in my late teens drifted into reading serious literature.
Storytelling is an ancient and honorable act. An essential role to play in the community or tribe. It's one that I embrace wholeheartedly and have been fortunate enough to be rewarded for.
