When we first sold the Wallace and Gromit shorts to America, people suggested we get rid of the strange British accents and put clear American voices on them, and we held out.
After studying in Sheffield, I went down to London to do my post-graduate degree at the National Film and Television School, embarking on the movie that would eventually become 'A Grand Day Out.'
I support any means to make real connections so long as that it does lead really quickly to real connections. It's the long-term online friendships and relationships that start to get a little hairy.
I've met people who will go to a movie that I can't stand and they say that they saw that movie ten times. There's something they like and identified in that movie, and I don't see it.
You're not a historian, but most historians will tell you that they make very discrete judgment as to what facts to omit in order to make their book into some shape, some length that can be managed.
Well first of all you have to make the character strong so that people can follow that. And then hopefully that character can integrate with the background of the social situation that people can recognize.
We've been performing with symphonies all of our career and it sounds so wonderful when they play 'My Girl' with the large string section, I want to turn around and look.
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.
