I love acting; I love movie sets and movies, but, at the same time, there's something about the position of women in that world that frightens me a lot. I find it nearly inhuman to be an actress.
I would never try and do a remake off a movie. I think that's a whole different thing. I think everyone will always remember the first movie, and they will always compare it with the second one.
Multiplicity was a movie that tested really well. People seeing the movie really liked it, but then the studio couldn't market it. We opened on a weekend with nine other films.
When the movie was done, Number Five was crated up. Eric took him over to Germany; displayed him over there because Germans really liked this movie. It was very popular with them.
When I'm writing a movie, it's usually pretty close to what the movie is going to be, which is just a luxury of being a writer-director.
I phoned my grandparents and my grandfather said 'We saw your movie.' 'Which one?' I said. He shouted 'Betty, what was the name of that movie I didn't like?
You go to a theater now and you literally see parents watching the movie and they suddenly cover their kid's ears. I figured I'd make one movie where they didn't have to do this.
I'm a fan of the western genre. When I see a character actor, I see a whole movie behind a scene before and after. There's a whole other movie behind it.
I scored a movie called 'Endangered Species'. I worked on another movie called 'Staying Alive'. A German film called 'Fire and Ice'.
If I thought of myself as a movie star, I'd be an idiot. I don't know anyone who thinks like that. I don't even know movie stars who think like that.
You don't want to make a movie just to make a movie. You better have a point of view.
From my own internal fanboy perspective, there's nothing that I hate more than seeing a three minute trailer for a movie where I feel like it's shown me the entire movie.
This is the world we live in, isn't it? Tons of spin-offs; people reboot things very quickly. I was amazed how quickly they made a Wolverine movie, then, 'Let's do another origins Wolverine movie.'
I can't make a movie unless I believe in the themes behind it. I mean, that's the first question I ask myself, always, is, 'What is this movie about?'
I have met a lot of top chefs around the world during my travels. Each one of them has said 'Ratatouille' is their favorite movie and the only movie that truly captures what they do.
Every two, three years there is a movie about the Holocaust because they want you to remember and they want you to be reminded of what it was. When was the last time you seen a movie about slavery?
The challenge with 'Watchmen' is making sure that the ideas that were in the book got into the movie. That was my biggest stretch. I wanted people to watch the movie and get it. It's one of those things where, over time, it has happened more.
Edward D. Wood, Jr.: I'm a movie director. Tor Johnson: Movies? You mean like the Mickey Mouse?
Stars make money on real movies. They make big money on real movies. To come into my world, I've got some M&Ms and some potato chips, and I'm asking you to move furniture.
Now while the German money is over for Hollywood, I still have $80 million to make movies, and we will have two things coming up: less major movies and the price for actors will go down.
I think if the movie has resonance and stimulates the viewer to talk about it, you can have as large an audience as you want. The most important thing for me is that the movie exists. And that's success enough already.
