I would be in Italy working on a film, longing for something simple - like, God, I would just kill to be sitting at a barbecue having a beer right now.
The only time it got really crazy was during 'Batman.' Anywhere I went in the world, people knew who I was. I was being offered these huge films that would have taken my career to a different level, and I decided to put on the brakes. I knew if I continued on that track, I probably wouldn't have gotten married.
It's about finding unique, one-of-a-kind films that I would want to see myself. I think Party Monster is one of those.
Every film you work on is different, and that's part of what it's like for anybody who works on a film, is to learn how to work with others. Learn from top to bottom. Actors have to learn how to work with the director and the director has to learn how to work with actors, and that's not just those two departments.
For me, when working on a film or play or television show, everything for me starts with the screenplay and I am devoted to that and that is what I work from. Any research I do or any preparation I do on my own is all ultimately in service of that.
You know, when you choose to make your living as an actor, it's all fine and good to look at it as some kind of artistic endeavor. At its best, it is that. But the fact is, most of the actors out there don't earn $3 million a picture and can't afford to take two years off between films and look for the right thing. Most of us are tradesmen.
They prospect of seeing oneself in the mirror clean-shaven is too close to a Vincent Price film... a prospect not to be contemplated, no matter the compensation.
Every film is a crapshoot. It's a mystery when a movie comes together. I've never been able to figure it out. I don't know how I make my choices. The only thing you can do is know there's something about a character that you really want to experience.
My first interest was always music, and somehow that channelled itself into films and acting. I don't know what the natural transition of it was. I mean I acted a little bit when I was young and like any kid would in a community theatre.
In the late 1980s the amount of German films was down to four or five percent of the market, and the remaining 95 percent were American. It is now 20 to 30 percent German productions.
In this age of consumerism film criticism all over the world - in America first but also in Europe - has become something that caters for the movie industry instead of being a counterbalance.
Well, I certainly was exposed to and learned to appreciate the work of great directors early on. As a kid, my mother used to take me to see really interesting arty films in Los Angeles.
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.
You know, let a few years go by until I hit my midlife crisis. Then that can be documented on film.
I hate the Communists and have for many years and don't feel right about giving up my career to defend them. I will give up my film career if it is in the interests of defending something I believe in, but not this.
I'm going to make a film where not one word is really important. I'm going to make it all action.
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.
I'll be honest with you. My kids don't watch my movies and never have. I can maybe name a film one hand that they've seen, actually, all the way through.
'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.
I try to see my films just once. It's like a dream you've been through when it's been intense, and you just have to go through it once more just to make sure you've had it.
There's only one test of a great children's book, or a great children's film, and that is this: If it can be read or viewed with pleasure by adults, then it has the chance to be a great children's film, or a great children's book.
It's sad when you say a $30 million film is an inexpensive film, but it is.
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