It's hard when you're doing a film based on a true story to really figure out what all those relationships were.
When I went to film school about three years ago, the first two years you're required to make a series of short films. I started making films based on short poems.
I'm starting to teach now: I teach in the graduate film program at NYU and next year I'm going to be teaching at Los Angeles at the film program and English program at UCLA.
When I was a young actor, I just didn't understand how to function in this business as an artist. It is a business, it's called the film business for a reason, there's money involved. But on the flip side, nowadays I do not let the business side of it rule either. It's a balance.
When I was younger, I didn't know that I should just listen to my own voice, my own artistic sense of things when I was choosing projects, because one of the biggest creative decisions that an actor can make in the film business is what you will work on.
I love to bring humour into my work. Because comedy is not a huge part of the art world. And big-business film takes itself very seriously.
If I'm working on a film, I'll do sit-ups for before I shoot. Like, 100 in the morning or something.
A director on a film really sets the tone of how people go about things, so everybody is happy to be at work and everybody does their best.
Reviews about film acting are very... tricky, because movies are such a collaborative thing.
I've been acting for many years now, and I find there's nothing I enjoy more than making films with my friends and people I like, who also are the funniest people around.
When I started writing after my career as an actor, I knew that that other life in the film industry would be pulled into my writing life and that people would see me not as an author but as an actor starting to write.
We all age. You shouldn't discount it as a subject for a film. Just because the characters are dealing with issues that you might not deal with for another 45 years doesn't mean you won't like it.
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