The movies I've made at a certain time of my life were exactly right for the stage of my life, the frame of mind I was in at the time. Each character I've had to play has been me in that time in my life
I don't rush out the first day to see every horror movie, but I do keep up on them, because I want to talk intelligently with the fans about them.
I try to do things where I'm going to feel challenged in some way. I only really do one movie a year.
I have not seen Al Gore's movie.
What audiences end up with word-wise is a hackneyed, completely derivative copy of old Hollywood romances, a movie that reeks of phoniness and lacks even minimal originality.
Basically you want as many people as possible to see your movie.
When I am dreaming at night, I see everything as a shot from a movie. I have cranes and extras in my dreams. I swear to you! It doesn't happen every day, but many nights my dreams are like a movie. I don't see normal movement - I see things in very complicated shots.
I really want to do something in Europe. With a small movie, it can be an interesting challenge. But I have to get the right project. I don't think it's so important to go to Hollywood. All that trash that comes out of there! I don't want to do that.
I mean, this whole digital revolution is really eroding the director's importance on a movie because, number one, just from a practical standpoint, with floppy disks and the ability to put all of the film onto a disk, more people have access to the movie.
I hope my next movie is with like 80 year olds because I want to feel young again.
Actually, I had a really nice part in that movie [Ladies And Gentlemen, The Fabulous Stains]. I mean, I have, like, one second in the final-cut version, where I say "You're fired" to Diane Lane. That's about all you see of me.
I love just seeing shots of New York inside of a fictional movie that are not controlled. I do not like shots with extras, I have to say. I don't mind extras in other scenes, but I love New York City streets just as they look. I don't even care if someone looks at the camera. It doesn't bother me.
I think anytime a movie can inspire you to think and reflect and look at your life, it's a success.
A movie is made for an audience and a film is made for both the audience and the film-makers.
My daughter could do and be anything, without having to fight to get through the glass ceiling. Without having it be so extraordinary. If my daughter went to produce a soundtrack for a movie, there would be nothing extraordinary about a girl doing it. When I did it, it was highly unusual.
There was so much talk about the movie and we thought, "Wouldn't it be great to still do the movie, but to give everybody this thing they didn't see coming?" Even with the number of episodes, it was reported that there was going to be 10 episodes, and then there was talk about adding more.
I once dealt with a prima donna on a movie set. I won't say who, but his first name is a country. A communist country. Run by Fidel Castro.
People say it's a movie about boxing, but. . . I don't agree at all. I don't think it's a movie about boxing. Boxing is like a platform. It's just a stage where this is played out.
A government institution called the Finnish Film Foundation funds filmmaking there, and I wrote several screenplays but never got any money. They were sent back to me, and they said that they were too commercial for them.
Why would you create a movie for black people if you don't understand the history and perspective of the people you are doing it for? You need historical perspective to make sound decisions.