I wanted to be Anthony Hopkins and ended up being neither a film star nor having a career on the stage.
I mean, I've been in a hundred and fifty films; I don't want to just sit around and talk about things.
There are always at least five good films at the end of the year to get nominated, but generally speaking nowadays, it's more of the independent films that are recognized.
Actually, after the release of the Bond film, the producers came back to me to offer me another one, but I didn't have any juice left for an immediate encore.
You're talking to somebody who two years ago couldn't figure out how to use e-mail and who now has carpal tunnel. It has totally changed in that these films would not be getting out to people the way they're getting out without the Internet.
The United States and Turkey are the only two countries that don't have some kind of subsidy for the Arts. The whole culture in society has made certain films more acceptable. I turned down so many films in the '60s and '70s.
When I got back into the film business after college, I started out as a production assistant.
When I was five. That's when I started to love film.
I started writing movie scripts. They excited me a lot, but I didn't like them when they were finished because they were simple copies of the films I saw in childhood.
When I make an American movie it's going to come out all over the world-it doesn't happen the same way for an Italian film or a French film.
The situation in the film is like me going out to Venice Beach and talking to a homeless guy on the boardwalk, and 13 years later he's the president.
Whereas painting is a more rarefied art form, with a limited audience, I recognized film as this extraordinary social tool that could reach tremendous numbers of people.
Other actors like to rehearse on film-they like 30 or 40 takes. When you get an actor like that, it becomes difficult for me because I'm ready to quit after number two.
Doing that, then doing a lot of theater, which I love. Doing guest stars, did two independent films that are going around to all these festivals. Both of them are going to be at the Lake Tahoe Film Festival.
But I have had the luxury of working on good films with great people.
When you make a film, you like to run it with an audience. They tell you you're narrow-minded or subjective, or that seems too long, or that doesn't work.
As with sound, images are subjective. You and I may not see the same color red as red, but we will probably agree that the image on the screen is a digital image or film image, based on contrast, bit depth, and refresh rate.
Her kitsch was the image of home, all peace, quiet, and harmony, and ruled by a loving mother and a wise father. It was an image that took shape in her after the death of her parents. The less her life resembled the sweetest of dreams, the more sensitive she was to its magic, and more than once she shed tears when the ungrateful daughter in a sentimental film embraced the neglected father as the windows of the happy family's house shone out into the dying day.
If this were a [Hollywood] studio film, I wouldn't have pushed my father into a table, I would have beat him up. My father wouldn't have kissed my girlfriend; he would have raped her.
[Nixon] reduced the meaning of his life to nothing but power. In the film, we gave this sad figure consciousness of what he was. We weren't right to do that - I don't think he did have that consciousness. But we did it for movie reasons - to create empathy.
You have more and more people coming into the tent with the creative guys [on Hollywood films]. You have marketing and concept testers, advertising people. What you find gets the high numbers is easily appealing subjects: a baby, a big broad joke, a high concept. Everything is tested. The effect is to lessen the gamble, but in fact you destroy a writer's confidence and creativity once so many people are invited into the tent.
I want to seduce the audience. If they can go along for a ride they wouldn't ordinarily take, or don't even know they're taking, then they might see highly charged political issues in a new and unexpected way. . . . The theatre is now so afraid to face its social demons that we've given that responsibility over to film. But it will always be harder to deal with certain issues in the theatre. The live event - being watched by people as we watch - makes it seem all the more dangerous.
. . usually, the biggest problems of adapting plays into screenplays is that they stick too close to the play, and I think film is a completely different medium. I think a novel is much closer to a film.
I do think the challenge, in a way for me, is to write a narrative film and when you finish watching it you feel like it's a collage. You tell the narrative, you tell the story, but you feel like you've created this tapestry. But it also has a shape, a story. So I think there's a middle ground that I try to strike... away from where everyone else seems ready to go, which is, setup, payoff. You know, He's afraid of water, oh, and at the end he's swimming in water - oh, my God. I hate that stuff.
I felt, if I'm going to take on some of the most overdone material, which is men and women and affairs and betrayal of friends, I had better have a new take on it. I think my films come from a desperation not to be boring.
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