I believe, and this is perhaps too nationalistic a view, that the American style of acting puts actors quickly in touch with each other, so that their continuous presence in a company, as in England, is not absolutely necessary.
I never thought of becoming a director. When I was twelve, the passage from silent film to the talkies had an impact on me - I still watch silent films.
I'd rather deal with a Mob guy shaking hands on a deal than a Hollywood lawyer, who, the minute you get the contract signed, is trying to figure out how to screw you.
The thing about 'Gilmore Girls' is that it's such a specific voice, and I lived with it for so long before it got on the air It's a very specific rhythm and a very specific banter.
When we can’t see ourselves in our history, we begin to think that we are disconnected and suffering alone. Historical ignorance always precedes cultural imbalances and individual despair.
And when you clear away the cobwebs of the description of every job in the world, at the bottom of that job is service. It's service. And I took that ethic and applied it to my writing craft.
The difficulty with the present state of affairs is that there is no legislation on the sources of funding for the Polish film industry. There is no legislation concerning filmmaking. And, there is no legislation on television that would be beneficia...
Suddenly, the screens were dominated by American entertainment to the extent of something like 95 percent. As a result, audiences turned away from the kinds of films that we used to make.
In the first years after 1989, films were partly financed from the state's budget as well as by public television. Still, except for a few special cases, most films are made this way.
In opera, everyone's watching from a fixed viewpoint, and that really challenges you. Lighting, the sets, stage groupings, the music-but doesn't relate too much to film.
Quite a few operas are still being commissioned around the world, although nothing apart from audience popularity can ensure more than a few performances.
What I loved about 'The 40 Year-Old Virgin,' the title is the easy sell, but when you see the movie, the comedy is more free-form and more relatable.
Maybe because I come from choreography, I've always felt that there's something about action films that made it very natural for me to go that way. It's story through movement.
Any film I've made, I've only really begun to understand in the cutting room. That's when the story shows itself to you, like a wreck coming out of the sea.
What we think about Paris is a part of how we feel about it. Our idea of Paris is our idea and we don't know that that's not necessarily the way it really is. It feels so real.
Is it appropriate still for a German to have a gun? I only use that as an example of a country that's still deeply involved and engaged in the conversations about how to come to terms with the past. Certainly for that country, it's not forgotten.
England is strictly class-based. What's surprising is how many films are still made with a load of people in silly frocks running around gardens and talking in middle-class accents.
I don't see myself being special; I just see myself having more responsibilities than the next man. People look to me to do things for them, to have answers.
It makes it difficult to decide which to go see, since no film about say, some tragic genocide in Africa is going to get a bad review even if it's poorly made.
Whereas my producer literally worked on this thing for 10 years and because I gave that presenter credit to David Lynch, she to this day never gets credit. It really kills me.
And I sense it was a rather constructed, almost half narrative fiction film in some ways. A lot of it was staged and manipulated to get those things in there that I knew to be strong.
