I was a film student. I became an actor but I thought I'd be pursuing filmmaking originally.
I wanted to play a mother again. I thought it would be interesting to play the mother of an older child. And it was also the kind of part I've been looking for my whole career, actually, in film. You know, just to play a femme fatale who's very smart, and wicked.
If you feel you have a film that's valid, you stick your ass on the line.
When you are making the one you are doing, you think it is the greatest film going. And then you do another one and it is a great film.
'Angel Heart' was one of my favorite films.
I don't make films that are easy to market, unfortunately. I think that 'Pi' was the easiest one, because we had that symbol to stick up everywhere, so that was a good gimmick, and created a good mystery, and we didn't have to do huge scale.
It's sad when you say a $30 million film is an inexpensive film, but it is.
I never studied anything about film technique in school. Eventually, I realized that cinema and theater are not so different: from the gut to the heart to the head of a character is the same journey for both.
This film 'Hero' talks about the peace of Chinese people.
Romeo Must Die was the first film that I did where I was able to just be free as an actor.
Every time I start a film I feel like I'm starting the first time, ever.
For me, making films is about trying to work something out by myself in quite a lonely way. I find the whole thing very lonely really.
I deliberately never read about films before I see them.
I don't care to analyze acting. On the other hand there is a fascination because distributors are putting out British films. You get films here with great performances you'll never see again. Why compare. We should go after the businessmen.
I have come close to producing films. But generally by the time they hit the screen, there's about 50 people with producer credits, so what's the point. I usually find scripts I like with no money attached and take them to producers that I know and try to raise finance.
But in fact if you look at film as a metaphor, only through the negative can you have the positive print. What I'm trying to get to is the positive value of negation.
I grew up playing sports, but now I feel like I can't, because if I get injured, I'll impair whatever film I'm working on.
To try and raise a budget for a film that is strictly for adults and both strong and graphic in content is not easy, especially when there is pressure to spend serious money on good special effects.
It is not easy to get parts in mainstream films for most people of color. Hollywood and British writers are not writing parts for us, or the directors are not interested in casting us in parts that are color-blind.
The very reasons sometimes that you make a film are the reasons for its failure.
I was thinking of going to London drama schools or to New York, because France didn't accommodate the things I wanted to do in film.
I'm intrigued by films that have a singular vision behind them. A lot of studio movies have ten writers by the time they're done. You have a movie testing 200 times, making adjustments according to various people's opinions. It's difficult to have an undistilled vision.
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.
I've always been a fan of science fiction films, and I've never been able to put my particular spin on it.
I've always believed in populating my films with characters who we like, who we have some warmth for, who have warmth for each other, who we would like to hang out with, who we emulate in one way or another.
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