I usually work on a film soundtrack for two years, turning in a song every few months, and that keeps my creative energy high, because I'm constantly rotating projects. The trick is to make sure I don't work too hard and get exhausted.
I like to keep my budgets at a certain price when I work for someone else, and even more so now that I'm working for myself, and use new technologies to deliver films that look like they have high production levels.
In the film industry, we tend to pick up where others have left off, and I'd like to think the influences I picked up from Bruce Lee, Jackie Chan, Sylvester Stallone and Jean-Claude Van Damme are visible in my work.
It's like getting into film - I didn't say early on, 'I'm going to become a filmmaker,' 'I'm going to show my work at MoMA.' When you start to think those things, you're in trouble.
The thing about film-making is I give it everything, that's why I work so hard. I always tell young actors to take charge. It's not that hard. Sign your own cheques, be responsible.
Women have a certain sexuality, and I think their bodies are beautiful, and I'm not embarrassed to explore that in a film. But there are things you get offered that are vulgar and violent - just like there's a side of me that's vulgar and violent.
There was an interesting article in Los Angeles Magazine about women directors. A woman director makes one bad independent film and her career is over. Guys tend to get an opportunity to learn from their mistakes.
Japanese women have always loved my films, even when no one else did. Ever since I made 'Maurice' in the 1980s, I've been getting hundreds of letter from Japanese girls. They definitely have a special place in my heart.
The whole series is black-and-white, so when I went to shoot one of the women I only had black-and-white film with me. She had reddish hair and was a very pretty girl, a nice girl.
A problem was the lack of cooperation of the Afghan community itself. The women, though living in Iran, were under cover and not willing to participate in the film, and none of the ethnic groups were willing to work together or be together.
We don't want to be our own niche. We're filmmakers like everybody. How many years in a row are we going to talk about the fact that we make films and we are women? Enough already.
In most of the European countries - France stands out in its resistance to this particular form of American cultural imperialism - the national film industries were forced onto the defensive after the war by such binding agreements.
So, I created these creatures called The Frightened Ones which in the film you see do have mask like kind of heads and they run beneath the ground to hide. Which is what in fact we did during the war.
Most people learn all about the Second World War in school, or else, they see so many films put out by Hollywood, that it's easy to think we know exactly what happened.
One of the elements in the film that really fascinated me was not to look at the world in bi-polar terms of us vs them or east vs west, which was a by-product of the Cold War.
And if there was one title that could be applied to all my films, it would be 'Civil War' - not civil war in the way we know it, but the daily war that goes on between us all.
The only other human endeavor on which there's more 16-millimeter film than pro football is World War II, and we're going to pass that in 2013.
Wade sighed. “I’ll never understand why women wear bras to start with. They look uncomfortable as hell.” “They’re not that bad.” “Turn around so I can fasten the damn thing for you.” She refused to let go. Suddenly it seemed important...
Three quarters of respectable England hates you." "Half," Sebastian replied with a smile. "It's really only half. Judging by my correspondence, it may be as little as forty-eight percent. And of those, only a small number want to cause me bodily harm...
He reached into the bag and drew out an odd array of manga, ripped paperbacks of books both classic and modern, and a small stack of crumpled magazines. "See, I even brought some things to read aloud. I wasn't sure what you'd like, so there's a bit o...
The frame of the mirror was a deep mahogany and carved with an intricate design of what appeared in the dim light to be leaves and vines. The mirror’s surface was clouded with dust and age, so much that Quinn could not even see his own reflection. ...
