Quality isn't about where the money came from or which company gets to put their name on the thing. What matters is who made the movie and why they made it.
I could be making a lot more money now if I had chosen a different kind of movie, but none of that matters to me... I've done the parts I wanted to do.
A financial shift happened with 'Facing the Giants' and 'Fireproof,' where movies that were faith-based films were profitable. And people in Hollywood - like people in downtown U.S.A. - are out to make money.
There are many movies that have done it very badly. The studios have gone for quick profits and audiences are feeling angry. People aren't taking the time and spending the money to do it right. I am.
All that running around in my underwear put money in my pockets. I can focus on working in interesting movies without having to worry about supporting myself.
There was a little movie I did called 'Women In Trouble' that a friend of mine made. That, to me, was a very satisfying project. It was shot so quickly during the writer's strike, and there was no money. It was a really fun project.
On everything I do I'm always taking someone's money, whether it's a movie studio or a record label. Somebody's paying for it, and I'm always respectful of that. But I'm never going to compromise.
The major studios are by and large banks, and they give you what is by and large a loan to make a movie. Like banks, they want their money back plus.
They put all this money into these huge films and then no one goes to see them. That sort of shows they're out of touch. Then everyone in town passes on my little movie and it does really well.
When I met Peter Weir, we did a movie called 'Master and Commander' together, and that's when I really started to understand the power of acting, the power of directing, finding the emotion in performance.
I can't cultivate a relationship with my child if it's between takes. I tried that on a movie and realized, 'This is not going to work.' It will work some of the year, but not 12 months a year.
Our first scene is sort of a reunion between the X-Men characters, which establishes everyone's relationship to one another, sort of like a recap for all those who have forgotten since the last movie.
I'm not opposed to doing science fiction or comedy, but there has to be respect. I refuse to be the joke, the fat woman joke, in any movie. I've turned down roles.
If any movie people are watching this show, please, for me, have some respect. You wanna sell some tickets, act like you know what you're talking about.
A Bond movie falls into a specific genre, and you have to provide certain elements. You must respect the fact it's essentially about girls, guns, gadgets, and big action.
I think the thing is with a movie that has this much science fiction in it; you need characters who are more science fact, if you know what I mean, than they are human.
I'm on a crusade to get movie directors to get their science right because, more often than they believe, the science is more extraordinary than anything they can invent.
I think the fun of following the movie box office and stocks is very similar to the fun of sports - all three combine passion and unpredictability.
When you watch a Coen brothers movie, it is always so certain about what it is trying to portray. That is their strength. The minute they write a word, they know how it will look on-screen. They are very purposeful, with no kind of mistakes.
The first movie that made me cry was 'Dead Poets Society.' That one gets me. 'O Captain! My Captain!' That moment kills me.
The idea of a youth-based society that you live in for a certain time and then you no longer live anymore is an interesting idea for a movie, but you need young people that people want to go see.
