You cannot combine being a movie star with not being a movie star.
Citizen Kane is perhaps the one American talking picture that seems as fresh now as the day it opened. It may seem even fresher.
My sense of Los Angeles was very New York provincial, as in 'all those people are crazy out there' (which they are), and stupid (which they're not), and immoral (it's more interesting than that).
You won't find me in a romantic comedy. Those movies don't speak to me. People don't come to talk to me about those scripts, because they probably think I'm this dark, twisted, miserable person.
In the future, everybody is going to be a director. Somebody's got to live a real life so we have something to make a movie about.
The world comes second hand - fifth hand - to us and the illusion that it is fresh because it is shown as a picture of an actual place or is given as a 'true account' by some reporter who claims to have been 'there' divides man into incalculable parts without any true center.
You read a script and its based on 'Reservoir Dogs' and 'Pulp Fiction', and it goes right in the bin.
Self-plagiarism is style.
A Great Movie Evolves when Everybody Has the Same Vision in Their Heads.
If You Want to Send a Message, Try Western Union.
You see so many movies... the younger people who are coming from MTV or who are coming from commercials and there's no sense of film grammar. There's no real sense of how to tell a story visually. It's just cut, cut, cut, cut, cut, you know, which is pretty easy.
Jet was very busy. I've been inspired by a lot of his movies.
I wouldn't like to be in movies. Movie people are strange. They live a different life than musicians do.
I wasn't a kid who moved out from Iowa with aspirations of becoming a famous star - I was intrigued by the idea of filmmaking and by the idea of what it would be like to play a character in a movie.
But my favorite period for actors is the 70s. I think so many great movies were made in the 70s. The 90s just seem to be a confused decade. Nobody knows, really, what's going on.
For years all I seemed to be doing was lobbying politicians and others to persuade them that European culture needed movies, and that we had to protect it.
It wasn't until I saw James Dean that I began to think that maybe I could actually do this. Movies didn't have to be just this fantasy with this impossibly handsome guy.
Sometimes when we weep in the movies we weep for ourselves or for a life unlived. Or we even go to the movies because we want to resist the emotion that's there in front of us. I think there is always a catharsis that I look for and that makes the movie experience worthwhile.
A novelty in Polish filmmaking was that it was possible to find funds for a big production. However, at the same time, the state budget committed less and less money to filmmaking.
Yes. Otherwise I could have done a lot of Hollywood movies. After Crouching Tiger I got a lot of offers, but I turned them down because they were all victim roles - poor girls sold to America to be a wife or whatever. I know I have the ability to go deeper, to take on more original roles than that.
Work is good when people are responsible, and in low-budget movies a lot of the actors don't want to be there. They're there to build a resume.
And it's one reason why I don't go to a lot of movies - they're more and more dominated by corporate values and fiscal concerns as opposed to cinematic concerns.
Well, I started thinking about what you were saying about how your movies need to make a profit. Now, what is the one thing, if you put it in a movie, it'll be successful?
I was always enamored with TV shows and movies. But you didn't grow up in my town and turn into an actor.
The trick of making movies in this culture is how to not give up everything that makes them worthwhile in order to get them made - and that's a tricky balance.
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