Because Chicago was to radio what Hollywood was to films and Broadway was to the theatre: it was the hub of radio.
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.
Because I could take this as an opportunity to create something that I pretty much guarantee nobody else was going to create in film.
In terms of my own film experience, I'm definitely used to morose and very heavy, heavy dramas.
We were using a hand-held camera to film the scene when Morse collapses. The camera wouldn't start. Three times they said action and it still wouldn't work. To this day, they still don't know what was wrong.
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 came on to the film with a very happy-go-lucky attitude which I think my character, Charlie, did when she went into the house. I expected it to be good, and then slowly things started to change for us all.
I can say, hands down, 'Annapolis' is the most challenging film I've ever taken on.
One might have thought that the most significant change in the film industry that would come about with a transition from the communist economy to capitalism would fundamentally concern the sources of funding.
When I worked on 2001 - which was my first feature film - I was deeply and permanently affected by the notion that a movie could be like a first-person experience.
No one turns down a film with Woody; it's something everyone wants in their career as an important moment. He's such a comedic genius, without question, so I was thrilled.
We don't watch the film anymore because we've seen it so many times, so we'll introduce it, walk out and we'll come back in right about when I wake up in the morning and walk over to the shop and everything's changed.
Fahrenheit 9/11 took public domain information that should have been on the news every night and put it in a film that a lot of people went to see. But still Bush has never had to answer those charges.
I knew nothing about the independent film industry. I didn't know much about the industry itself. All I knew was how to watch movies, how to enjoy them, how to hate them, how not to like them.
There are films you see that only reach your eyes. Then there are films that you can watch... that reach down to your throat, or reach your heart. "In the Mood for Love," though, reached all the way to my belly.
I don't think any actor feels comfortable watching themselves in movies. You must be very narcissistic. The problem with your own opinion of yourself is that contrary to the normal spectators, when you watch a film you are in, you only watch yourself.
People who are good at film have a relationship with the camera.
The film is a romance with songs and dances, aimed at a family audience.
So I was asked to do horror film after horror film, a series of about five, after that, and some of those were a little too gruesome. I wasn't too comfortable all the time in those. I didn't really care for them.
I've heard that Alfred Hitchcock said that by the time he was ready to shoot a film, he didn't even want to do it any more because he'd already had all of the fun of working it out. It's the same thing with these Frank comics.
In the comics, Supergirl is quite, um, buxom...so I hope people won't come to the film expecting that.
I knew nothing about football, then someone showed me a film of Petit and I realised how interesting the game could be. He is divine. When I met him I could barely speak, he was so gorgeous. Women will love that show.
We work in an environment where your options are to do, you know, Batman 10, so when you get to do a movie that's a really great film like this, people really step up to the plate and enjoy it.
I don't know why my lines that were cut from the film didn't make it onto the DVD. I have offered to go into the editing room with Christopher and work shoulder to shoulder with him to fit all my lines in. I think he thinks I'm kidding. I'm only trying to help.
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