I have never intended in any of my films to sell violence or to glorify it. Even in the most intense action sequences in my films, there is a message about how evil violence is.
The secret to the movie business, or any business, is to get a good education in a subject besides film - whether it's history, psychology, economics, or architecture - so you have something to make a movie about. All the skill in the world isn't going to help you unless you have something to say.
I'm delighted with it, because it used to be that films were the lowest form of art. Now we've got something to look down on.
We're given the springboard of the text, a plane ticket, told to report to Alabama, and there's a group of people all ready to make a film and it's a marvelous life.
On the first movie we got good reviews, but we were still dealing with genre stuff. It's going away. Judge the movie - is it a good one or a bad one? We know we made a great movie and it's being judged for just being a good film.
I was delighted to have lines when they came - learning lines for film isn't a problem, but television is a little different, because we shot those shows the whole way through.
My love for the theater has always been a priority. That hasn't changed. I got into acting that way. The film work that came up was really a surprise.
The men were all scumbags, but the whole point of the film is to show the development of that. Each guy is going in there to have a good time. By and large, these men are career men, family men, and you just see the deterioration of them.
But with my last film, Spider it was agony. The money was always disappearing, nobody got paid, it was very difficult - and it's very distracting from the process of making the movie, of course. So I think things have been getting harder and harder.
I have this new theory about films. It's almost like astrology, where if we started on a Tuesday the film will be different than if we started on a Wednesday. Not because of the planets. It's that sometimes you start with the wrong balance and the whole thing gets messed up.
By the time I was 10 or 11, I knew I wanted to make films.
It's important that a film is loud and I hope many people agree. You should be inside of a film when you go into a theater. It should surround you, envelope you, so you can live inside a dream.
After Wakefield Poole's films, mine are unnecessary and a bit naive, don't you think?
I am optimistic globally. So many scientists are working frantically on the reparation of our planet. Unfortunately there are countries who are still destroying it, but we really hope the conservation message rubs off in our film. Every cent we earn from Crocodile Hunter goes straight back into conservation. Every single cent.
He is the ugliest thing I have ever seen. I have watched Lord of the Rings and films with strange looking people, but for a human being to look like he does is pretty shocking.
I even agree with the new digital ways of filmmaking, where you don't even have physical film in the camera, but to be honest, I wouldn't want to use it.
That is the thing I'm most grateful for in this industry to be able to spin in those different mediums, with television, film and the stage - at this stage of the game.
Part of the film business is, if you want an apple, you buy an apple.
When a filmmaker does not make films it is as if he is jailed. Even when he is freed from the small jail, he finds himself wandering in a larger jail. The main question is: Why should it be a crime to make a movie? A finished film, well, it can get banned but not the director.
You have to steal a lot. You have to have a criminal mentality to be a film director.
One of the gifts one movie lover can give another is the title of a wonderful film they have not yet discovered
Fellini was more in love with breasts than Russ Meyer, more wracked with guilt than Ingmar Bergman, more of a flamboyant showman than Busby Berkeley... Amarcord seems almost to flow from the camera, as anecdotes will flow from one who has told them often and knows they work. This was the last of his films made for no better reason than Fellini wanted to make it.
I love films, I love movies, I love television, I love television series, I love the internet, I love anything that enhances images. But most of all, I love, love movies.
Once you've been really bad in a movie, there's a certain kind of fearlessness you develop.
In film, life-and-death struggles make you sit up, lean forward a little bit. They amplify things happening, in smaller ways, in all of us. These things show up in relationships. They show up in struggles and bring them to a critical point.
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