Independent films in this country are in the same position. Miramax and Fine Line are not independent - they're with Disney! Come on. Or they're with Warner Brothers. They're all with somebody.
You know, this is such a rich time that we've just been involved in, and there's really a job now for historians. Film is still very young. This is the first hundred years of filmmaking. So I think it's important that we have some sense of history and continuity. Especially in film.
[After Easy Rider] I couldn't get another movie, so I lived in Mexico City for a couple of years. I lived in Paris for a couple of years. I didn't take any photographs, and then I went to Japan and saw a Nikon used. I bought it, and I just started, like an alcoholic. I shot 300 rolls of film. That was the beginning of me starting again.
I couldn't get a job acting all the time and there were down periods where I could take photographs or paint. I got into a lot of trouble when I was young, from making two films with James Dean, watching him work and then him dying and thinking I could turn down work. There was a big difference, he was a star and I wasn't. So I got in a lot of trouble and was essentially banned from Hollywood.
To make a documentary is one thing, to make a feature film is quite another.
Every time I go to Europe, I remember that James Dean never saw Europe, but yet I see his face everywhere. There's James Dean, Humphrey Bogart and Marilyn Monroe - windows of the Champs Elysees, discos in the south of Spain, restaurants in Sweden, t-shirts in Moscow. My life was confused and disoriented for years by his passing. My sense of destiny destroyed - the great films he would have directed, the great performances he would have given, the great humanitarian he would have become, and yet, he's the greatest actor and star I have ever known.
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