In Torch Song, I did that character almost non-stop from 1978 until I made the movie in 1987. Then I had some failure, which also colors how you react to doing other things.
Thinking back to those earlier days, I felt I was weak when I wasn't making movies, and then when I was, I thought I was weak as a family member.
I'm from Chicago, my family started a chain of movie theaters in Chicago that were around for 70 years and then one of them became the head of Paramount and the other was the head of production at MGM and we all came out of Chicago.
You know, what I like about 'The Family Tree' is it's a kitchen sink movie; you can't think of anything that it doesn't either throw into the story for conflict or poke fun at or attack, even, so I like it.
You've got a movie where the pro-choice family gives their daughter no choice. The pro-life family murders. What seems to be the good mother, the kind of hippie painter, sweet and cute mother has no love for her daughter really.
They needed someone to write a script of The Great Gatsby very quickly for the movie they were making. I took this job so I'd be sure to have some dough to support my family.
I would love to do a small indie comedy, like a Wes Anderson movie or, like, an ensemble comedy like 'The Royal Tenenbaums' or 'Little Miss Sunshine.' I like comedies like that, that have a lot of heart and are about family dynamics.
You can talk about movies all you want, but I have this porcelain fetish. I've had it since I was a kid, because there were so many kids in my family, the only place I had any solace was in the bathroom.
Hallmark makes beautiful films that feel as if they should be watched in a theater. The Hall family knows the power of stories, and they give us unforgettable movies with heart and depth and the resonance of classics.
There were two movies that asked me to go to Australia or New Zealand for long periods of time. One was 'Lord of the Rings' and one was 'The Matrix.' But I was actively involved at that time raising my family, and I couldn't really take that time out...
My family loves to take me out, and we do regular things like go to the movies. My friends do that as well. At the same time, I love work and I want to be busy all the time!
'Sunset Boulevard' - the story of Hollywood movies draped on a depressing sex affair - is an uncompromising study of American decadence displaying a sad, worn, methodical beauty few films have had since the late twenties.
My main aim has always been to do good quality films with roles that have some substance. With Power and Beauty there were loads of things that I liked about the movie, which made me opt for it.
Foxes was a movie that didn't do a lot of business but it didn't do too badly critically and eventually they offered me other things. The interesting thing was that next I tried a film called Star Man, which Michael Douglas was producing.
I stuck around in Hollywood for too long. I was there a long time, and when I left, I was smart enough to realise that what I was leaving was not just the movie business. I wanted to get rid of the whole atmosphere.
Making movies has become such a golden ring, and it's all such a big business, that the rewards system has gotten totally out of whack. Suddenly, you're treated in a manner befitting someone who is actually an important person.
I'm not in the movie business anymore, and hardly any 70 year olds are. I always ask the producers: 'Are there no 70-year old vampires?' Apparently there are not - or even zombies for that matter. I guess they all get eaten.
You know, I think the film business is its own worst enemy because it sells movies on DVD footage and 'behind the scenes,' and now it's a real struggle trying to keep storylines and plotlines a secret.
Everything about it worked, and I don't mean just the movie, but in our experience, we realized there's also a component of luck involved in this business. We had absolutely the most competent people in the studio working on the release and ad campai...
A lot of times in this business, it's so transitory - it's just 10 weeks here or there on a movie and then it's over - but to see the same people over all that time, a decade, makes you feel really safe and secure.
First, speaking for myself, I don't want to ever be in a position where I'm telling other directors how to make movies, because I don't think it's any of my business.
