When I was 16, I made some little 35mm documentaries about the poor in London. I went round Notting Hill, which was a real slum in the 1950s, shooting film.
Everybody remembers 'Just Shoot Me,' and I'm very proud of that. It's still on TV, and people still catch it and laugh about it, and I personally have wonderful, wonderful memories working with those people.
I don't believe you need high capacity magazines to go hunt. If you have to use 100 rounds to shoot a deer, you're in trouble.
I've seen an increasing willingness to hire Canadians for lead roles that shoot up here. When I started, they would always just fly in L.A. people to do the lead roles.
I couldn't wait to get on the ice. I couldn't wait to get to practice. As a kid, I couldn't wait to shoot pucks or play in parking lots, or play on the river or play on the bay.
Now that I'm a wiser, older human, when I do photo shoots, I specifically say, 'Please do not airbrush my moles out.' Because they will do it, to make you homogenized.
I understand the protests, but not the shooting and the attempts to bring down the state. We cannot allow hatred to control our lives. We must remain unified to defeat this evil.
In film, I find it very useful always to do some preparation before you start rehearsals or start shooting, because there's so much that's against you on a film set.
If someone suddenly lost their director the day before shooting and wanted me to step in, I'd be willing to. But I'd do brain surgery the same way. I'm always up for something new.
A definite highlight was doing 'The Brothers McMullen.' Shooting that movie was such a joy - and then we wound up winning the Sundance Film Festival. That big-break moment is visceral. It happens once in a decade, maybe once in a lifetime.
I like making black and white films in natural surroundings, but I much prefer shooting a color film inside a studio where the colors are easier to control.
I got a series with the WB next year. We start shooting in July. It's going to be called Safe Harbor, and it's an hour show. It's a Spelling show and will follow 7th Heaven.
When I tell my American counterparts that my budget was $200,000 per episode, they burst out laughing. To us that's a big production, to them it's a guerrilla shoot.
Because I trained in theater, I always leave a film shoot feeling like I haven't done anything, like I just sat in front of the camera and whispered, essentially.
I was once stranded on a broken-down boat in shark-infested waters in the middle of the Indian Ocean for five days before we were rescued while doing a 'Vogue' shoot.
I was spooked when I first got the role, as I was afraid I wouldn't have the companionship I need on a shoot, because I'm so into the process itself, not so much the end product.
I personally have gone to photo shoots and see the pictures afterwards, and I don't look like me because I'm just so airbrushed and so, kind of, fake and almost plastic-looking, you know?
Some directors expect you to do everything; write, be producer, psychiatrist. Some just want you to die in a tragic accident during the shooting so they can get the insurance.
A true intellectual is a man who, after reading a book and being convinced by its arguments, will shoot someone or, more likely, order someone shot.
I did decide that you have to put your name about a bit, and so, although I would have preferred to have never done publicity or an interview or a fashion shoot for a magazine or a chat show.
I think it's a mistake for young filmmakers to just buy digital equipment and shoot a feature. Make short films first, make your mistakes and learn from them.
