I don't make romantic films. I make films about human relationships.
But I feel that I have a responsibility to help the film and I have relations with the studio and with those who put up the money so that I can tell a story that I believe in.
I don't think his life has been in any way disfigured by the film. The film did disclose some difficult facts.
Well, visual language is another boring discussion about the nature of film.
I think some people feel that if you are going to have 3D, then you have to shoot in 3D, but they shoot 3D, so of course they're going to say 'my way of doing a film is better. ' I'm not telling anyone how they should do their film, so why should anyone tell me how I should do mine?
I haven't watched it [ film Pink Floyd at Pompeii] in years. I find it excruciating.
Even before the economic crisis in Greece there was no structure for making films - no proper industry, and the structure didn't help filmmakers at all. So filmmakers had to help each other, and make very, very low-budget films. Now with the crisis, things got a bit worse, but filmmakers are still going to be making films. It didn't change that much.
There's a different film being made in every mind. And of course, the star of the film is the mind, the personality, the self.
I got lot to do at a pretty young age in terms of emotionally challenging films. I did not do any fluff. . . fluff is not me.
[Fifty Shades Darker director] James Foley directed Fear. And that's what I love about this film, because it has a real sexy thriller element about it.
How can you work in film and still see the overt racism that exists in film and not just be furious all the time?
I always thought it would be very funny if I was a blind film director.
I can kid people, including myself, into believing that something on the page will work. But when you film it, you just think, "Oh. . . ".
Dialogue that's distinctive, funny, peculiar, and specific is the main thing that makes me want to get involved with a film to begin with.
There are a lot of movies I'd like to throw away. That's not to say that I went in with that attitude. Any film I ever started, I went in with all the hope and best intentions in the world, but some films just don't work.
I always bring it up to my lawyer every now and then. And another reason we have to revisit it is because there is a restoration going on right now for the film through UCLA and Sundance.
'Gone With The Wind' is one of the all-time greats. Read Margaret Mitchell's book and watch the film again; it's a soap opera in all its glory. It is superb and memorable.
Ten Days That Shook The World, by Eisenstein, I went to see it, and I was so impressed with this film, so impressed with what cinema could do.
I always have directors who are somewhat frustrated because they'll reference a beautifully obscure film from the '50s or '60s or '70s, and I've not seen it.
One thing I love about making an ensemble film is that you can have ten people come away from it with ten different messages.