Usually people like to categorise artists. With my films, I categorise people: if I know which one of my movies you like, I can tell which kind of a person you are.
In a weird way, if you look at all the 'Apes' movies, they all seem like different stories in the same universe. 'Beneath the Planet of the Apes' is definitely a continuation, but the other ones jump all around chronologically.
I think that all stories - if you make movies about zombies and aliens - it has always to do with your personal story. If not directly, it is about your fears, your obsessions, things like that.
I made two movies very young, and then I had trouble getting a movie made, and so - which was both, I think, a plus and a minus. It was a minus because it made me unhappy.
I don't shoot movies quickly because I get a lot of coverage and a lot of angles, so we have all the pieces in the editing. I do a lot of takes, but it's because I'm looking for something.
Human beings need stories, and we're looking for them in all kinds of places; whether it's television, whether it's comic books or movies, radio plays, whatever form, people are hungry for stories.
Analyses of the movie marketplace points to an interesting phenomenon: High-profile movies are continuing to do well year-to-year in the U.S. and overseas - this past summer, for example, the top 10 movies registered at the same level as in '04.
I'm a theatre person, that's who I am. I'm happy to make sojourns into the world of movies but I'm basically a theatre director that potters off and does a couple of movies.
I would define independent film as a movie that is not financed by any of the smaller film companies. Because then, those are movies that in all likelihood are made without stars. And then they have to rely just on the material.
Warner Bros. has talked about going out with low-cost DVDs simultaneously in China because piracy is so huge there. It will be a while before bigger movies go out in all formats; in five years, everything will.
I don't worry about what everyone wants to see. I make movies that please a writer, director and myself. I always think there are enough people smart as me and sensitive as me.
As a writer one is allowed to have conversations with oneself. What is considered sane in writers is made for the rest of the human race.
We were from totally different social backgrounds. This is what is very hard for an American to understand, but we could have been five guys from Mars.
Close to the Edge, Red, One of a kind, Discipline, Earthworks, The Sound of Surprise, all seem to me to be albums that captured the essence of the intention.
Despite what many nutritionists have preached for years, rapid weight-loss diets can be healthy if done correctly and can work wonders on reducing pounds and inches in just days.
They think something's gone wrong, but in Don't Look Now, for instance, one scene was made by a mistake. It's the scene where Donald Sutherland goes to look for the policeman who's investigating the two women.
I think it helps in any comedy room for a woman to have very strong, respected convictions, because then it opens the door up a little bit for other women to have that.
With journalism, films always have to be to do with some personal statement of your own. As a general rule, I resist that. In the States, a question that kept coming up was this: 'How can you, as a man, talk about three women?'
I was called a misogynist because I was reducing women to mothers. 'Reducing women to mothers' - now there is possibly the most anti-women statement I've heard.
Such arguments remind me of a scene from Woody Allen's movie Manhattan, where a group of people is talking about sex at a cocktail party and one woman says that her doctor told her she had been having the wrong kind of orgasm. Woody Allen's character...
I go back to family: 'Ice Age' was about disparate characters rejected by their own kind. They come together to save the child. 'Despicable Me' is about redefining what a family could be. It has a visual distinction and an experimental quality.
