Someday, I'd like to sit down with a small group of people, in a relaxed environment, and make a film that feels more independent. That way we can be a little more free in terms of storytelling and subject.
But, I've made films in Japan, in Yugoslavia, all over Europe, all over the United States, Mexico, but not Hollywood.
I knew nothing about film at all. I suppose the biggest surprise is all these things. In the theatre we sort of do, I might do two or three key interviews and that would be it.
Every generation deals with the breaking down of its tradition, and I think that they rediscovered the film.
When I go to where I was getting excellent parts in movies I may have taken a few too soon, too anxious to go back to work and to anxious to make another film and to succeed more.
Quentin Tarantino asked me to work with him but there is no way I am going to do that while Matthew Vaughn is working in film.
We were asked to believe that the variety and the novelty of even the crude films of the early days would provide a means of entertainment which would cut out the stage.
I've always listened to a lot of film music, actually.
We had two cameras, so they could turn it on and shoot as much as we wanted. You don't have to worry about wasting money on film. A lot more takes are possible.
I think that the episodes are like mini horror films really; the characters make bad decisions early on and these things just snowball for them and get worse and worse. And that's what I find funny.
The film was fair to his musical achievement and gave him every opportunity to explain himself.
Right now I just finished writing the music for a Rugrats feature film and the third week of September I go to London, and the Orchestra is going to perform the score.
I said I would do all the films about the commercials, and the films about ball-bearings and Ford tractors and so on, if once a year they gave me money for a free film.
The difference being that in films, unlike in life, good does always win over evil in the end.
I had seen the films out of World War II, the great 82nd Airborne, the 101st, and all of those of you in the greatest generation and the service that you had provided.
A very receptive state of mind... not unlike a sheet of film itself - seemingly inert, yet so sensitive that a fraction of a second's exposure conceives a life in it.
I don't think any actors love taking their clothes off on film, unless you're an exhibitionist, which I'm certainly not.
Working on a film, you don't get time to develop rivalries, but the theatre is like a little village, and the differences between me, Lionel and Georgia grew.
Acting, films, scripts, is literally the only thing I’m 100 percent confident in. I know what I’m doing. I just understand it, and I love it. When I’m on set, that’s when I feel the most at home and in control.
It's amazing that this is still news to people, but that affects the final outcome of the film. When people are treated well, and they're made to feel valued, they give 110 percent.
The film director, in many instances, has to swallow somebody else's decision about the final form of something. It's so hard as to be intolerable.
So, thanks God, our films, our first films were suddenly being appreciated by the Western media; especially France was very good, and Switzerland was very good.
Polar Express is not an attempt to do animation. It is a technology-based film.
And we had the perhaps unfair advantage of not having to worry about what an audience was gonna think. We were in a vacuum. We were making little short films, really.
In terms of my own film experience, I'm definitely used to morose and very heavy, heavy dramas.
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