I am much more involved in the filmmaking experience on Mag Seven. I'm much more involved in story elements, casting decisions, the writing of the show, the blocking of the scenes.
Growing up I didn't watch movies.
Every day, three times per second, we produce the equivalent of the amount of data that the Library of Congress has in it's entire print collection, right? But most of it is like cat videos on YouTube or thirteen-year-olds exchanging text messages about the next 'Twilight' movie.
Being alone is scarier than any boogey man and the reason why I don't choose to see Horror movies as a rule.
Americans just don't know what being a movie star's all about.
Besides me wanting to be an artist, I wanted to be a movie star.
For me, there is nothing more valuable than how people feel in a movie theater about a movie.
I like to make all kinds of movies. I'd do 'Ocean's Thirteen' with the right script.
There is no filmmaking legislation because distributors are not interested in sharing their money with the film industry - for instance, by giving a percentage of ticket sales back to filmmakers.
Every time I go to a movie, it's magic, no matter what the movie's about.
When we shoot 24, there are so many things I have to worry about, from the script to technical things to my performance, that I dont have a second to be bored or take anything for granted. We produce 24 hours of film a season, which is like making 12 movies.
Even on a $100 million film, people will complain that they haven't got enough money and enough time, so that's always going to be an element in filmmaking.
I do believe that movies are subject to a million interpretations.
This weird thing happens when you're in a movie that has some level of success. People start offering you all kinds of things, and they just expect you to do them because they'll be good for your career. It's not about the project's integrity or anything like that.
I think people are used to seeing actors be wide open and desperately giving of themselves, and while I do that on a movie set as much as I can, it's so unnatural for me to do it on television, in interviews, in anything like that. I also don't find that my process as an actor is really anyone else's business.
I'm terrible at horror movies, by the way. I get scared so easily.
There's an electrical thing about movies.
I loved old black and white movies, especially the Fred Astaire and Ginger Rogers musicals. I loved everything about them - the songs, the music, the romance and the spectacle. They were real class and I knew that I wanted to be in that world.
I was always a filmmaker before I was anything else. If I was always anything, I was a storyteller, and it never really made much of a difference to me what medium I worked in.
Film is incredibly democratic and accessible, it's probably the best option if you actually want to change the world, not just re-decorate it.
There is no reason why challenging themes and engaging stories have to be mutually exclusive - in fact, each can fuel the other. As a filmmaker, I want to entertain people first and foremost. If out of that comes a greater awareness and understanding of a time or a circumstance, then the hope is that change can happen.
When you start out as a filmmaker, you do parodies, because you can't really compete on a studio level.
A Movie That Costs Only $1.6 Million Doesn't Have to Be a Cultural Event to Turn a Profit.
It's always been my formula to get the next picture set up before anyone's seen the last one.
The only thing worse than watching a bad movie is being in one.
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