The 3D thing has been abused slightly, I think. There is no question about that. 'Avatar' did it magnificently, and then, of course, there was the old 'leaping on the bandwagon' thing where there have been one or two films which, let's face it, all k...
I got plenty of grief for 'Blackwater,' because in the books, there's this huge chain across the harbor that features prominently in the battle. And we simply weren't able to do it with our budget and do it any justice, so we had to lose it.
I set out to do a horror film with 'Dog Soldiers,' and what I came out with at the end of the day was something that was more of a cult movie, more of a black comedy with some horror elements in it. It kind of went over the top.
It's weird because movie-making, and especially movie theaters, have always been so old-school, and it wasn't until 3-D that a lot of them were forced to have digital projectors and even digital distribution.
I have learned, as a rule of thumb, never to ask whether you can do something. Say, instead, that you are doing it. Then fasten your seat belt. The most remarkable things follow.
As I get on and films take four years to complete, I tend to have a hankering for very short projects so you can move on to the next idea. It's the ideas I'm interested in. What comes out of your head.
I went back over the sketch books I'd filled at Sheffield for ideas and discovered Wallace and Gromit, except Gromit was a cat then. I made them into Plasticene shapes and started 'A Grand Day Out.' It took me longer than I expected.
I was very glad later when I was directing that I wasn't in the hands of a cinematographer and hoping that he would do it well. I would know what he was doing, and we could discuss how that scene would look.
I never wanted to be a director. I came into this industry by the little door, so I never learned anything; I never went to school. Actors will tell you I'm very precise. I just have the intuition of doing things.
You have to be a brat in order to carve out your parameters, and you have to be a monster to anyone who gets in your way. But sometimes it's difficult to know when that's necessary and when you're just being a baby, throwing your rattle from the cage...
I've always worked a bit like a cook in a big restaurant, where you've got lots and lots of things laid out and you go and look into one cauldron and you look into the other and you see what's coming to the boil.
Actors, I think, are all the same. Both Korean actors and American actors are all very sensitive people, and they are all curious to know what the director thinks of them and how they are evaluated, and they try to satisfy the director. And they like...
I don't think I've ever tried to make something happen that I've absolutely had to force. You know how they say: if you can't avoid it, enjoy it. For me, it's the other way around: if I can't enjoy it, I avoid it.
By 1833 the largest publisher in America, Harper and Company, boasted one horse-powered printing press and seven hand presses while the American Bible Society owned 16 new state-of-the-art, steam-driven presses and 20 hand presses.
I made tons of films. I did animation for my friends' films. I animated scenes just for the fun of it. Most of my stuff was bad, but I had fun, and I tried everything I knew to get better.
When people go to the theater, they don't want to think 'I know exactly what I'm gonna get,' and then they get it and then they walk out. I think you want to walk in going 'I don't really know what this is about,' and have the fun of discovering it.
Our feeling is that the most important thing on a set is that actors have enough confidence to try different things. If there's stress or tension, they won't go out on a limb because they won't want to embarrass themselves if they don't feel complete...
I always take kind of a zen view of casting and I really don't remember people who passed. I kind of turn it over to the universe and figure, 'Wow, I guess that wasn't meant to be.' It doesn't sit with me.
Telling purposeful stories is interactive. It's not a monolog. Ultimately, purposeful tellers must surrender control of their stories, creating a gap for the listener(s) to willingly cross in order to take ownership. Only when the listener(s) own the...
When somebody is enthusiastic about a job opportunity - but gives off the feeling that this is not the only one they have on the table - they become more seductive in the employer's eyes. You become more desirable because it shows that you're making ...
Pamela realizes for the first time in her life that she hadn't made the wrong choice at all. Nor had she made the right choice. She had simply made a choice. And somewhere along the way, she had lost the courage to live by it.
