When I watch movies or TV, I am like, 'Wow that guy is really cute, I really like him,' but I don't really have one person that I would die to go to something with. There are so many hot guys.
America had, for one thing, lived in anarchy for - until much more recently than Europe. We had the Wild West, where the cliche of the cowboy movies was the nearest sheriff is 90 miles away, and so you had to pack a gun and defend yourself.
I was at the end of the studio system so when I walked into movies, I had a magnificent suite in which I had a living room and a kitchen and a complete makeup room. I had everything just for me. With the independents, you're kind of roughing it, lite...
I watch mostly every martial arts movie... I really like movies that aren't just martial arts. I like movies that have spiritual meaning behind them, like samurai movies, or movies that have meditation.
After I was fired from Disney, I did some of the worst movies ever made and I got professionally involved with a manager who said it didn't matter what you did as long as you kept working. I wound up completely broke.
Every year I hear people complain that the quality of screenplays and movies is declining. In my opinion, the vast majority of scripts written - as well as most movies that are released - are not very original, well-written, or interesting. It has al...
I'm very interested in silence. And, more importantly, in what happens when people aren't talking on stage. I'm interested in letting actors play and do things between the lines. And in slowing everything down.
I think growing up in a small town, the kind of people I met in my small town, they still haunt me. I find myself writing about them over and over again.
I was not aware of how much I loved 'Canoa' until I saw it after doing 'Y Tu Mama Tambien' and realized that my voice - over about the story's historical context - that narrator - came from 'Canoa'.
For me, my films are not like my children. They are like my ex-wife. They gave me so much; I gave them so much; I loved them so much; we part ways, and it's OK, we part ways.
When you make a movie, you know you're making a long-form thing, so the visuals are different than for a video where it has to be more obvious or in your face, I think, a little bit.
Anything that's memorable about a movie is often what a test audience will object to because they're being asked to be experts. They just compare the film they finished watching to all of the other films that they've seen.
I'm not a very efficient filmmaker. There's a lot of guys, filmmakers like the Coen Brothers who shoot a whole movie and maybe don't use 12 setups. I'm in awe of people like that; I'm just not that guy.
Sometimes you do complete run-throughs of scenes, sometimes you break scenes down into little bits. It just depends on what the actors like to do. It's almost like jamming.
Once you do something violent in a film, you don't have to do too much. You do it once and the feeling of violence just stays there, do you know what I'm saying?
It's a hard line to walk, man. Cause you know you want to make this movie, you want to make it dark and real, you want to show all this stuff but unfortunately you can't always do that.
Unless you're trying to make a movie on the sly, there's no way to get around this. If you want to use public spaces, film on the streets, have the cooperation of the police, you have to have a permit.
I feel that Julian Assange came to be both paranoid and self-regarding in ways that ultimately undermined his own mission. And so, the transparency radical became a secret-keeper instead of a secret-leaker. And that, I think, is a big problem.
I would tell filmmakers: 'Don't just be seduced by the same old, same old. There are interesting things you can explore that may get your film out there to audiences better than the traditional distribution mechanisms.'
You have to assume once you go online, anything you put there can be made public. Yet while you're online, you feel like it's a private, sacred space. But you're really broadcasting to the world.
I actually taught perceptual psychology at N.Y.U. when I was younger. I was interested in the aesthetic impulse in lower primates. But what really interested me in Dian Fossey was that she made a difference - she saved the gorillas.
