I never studied anything about film technique in school. Eventually, I realized that cinema and theater are not so different: from the gut to the heart to the head of a character is the same journey for both.
In the studio system, things are expected of a film. By the first, second, third act, there's a generic language that comes out of the more commercial system.
This film 'Hero' talks about the peace of Chinese people.
Romeo Must Die was the first film that I did where I was able to just be free as an actor.
When you're a woman in your 40s, it's not the best time to do films, because there really aren't that many roles. Then you reach 50 and there are more roles again. Mother parts.
Yes, there is some thought about making a film of My Name Is Asher Lev.
I've told people who have just started to make a film that the one thing you might experience is this feeling that everybody is conspiring against you, because you're not necessarily able to tell what's real and what's not.
Once you're directing, you're kind of in a certain mode, where you're taking whatever is on the page and forming it into the film that you think it might want to be. So whether it's my writing or not, I still try to work with it in the same way.
There are all kinds of ways that people present their films, but that's kind of a good feeling, if you can make it seem like the characters are really there.
As long as you keep your budgets small, there's a way of making films.
Every time I start a film I feel like I'm starting the first time, ever.
Films are all about decisions, and that's what I love.
For me, making films is about trying to work something out by myself in quite a lonely way. I find the whole thing very lonely really.
I deliberately never read about films before I see them.
I find it kind of weird that directors want to put themselves in their films.
I hear filmmakers saying, 'I wanted to make to make a film about this issue, or this theme,' but I never start like that.
I don't care to analyze acting. On the other hand there is a fascination because distributors are putting out British films. You get films here with great performances you'll never see again. Why compare. We should go after the businessmen.
I have come close to producing films. But generally by the time they hit the screen, there's about 50 people with producer credits, so what's the point. I usually find scripts I like with no money attached and take them to producers that I know and try to raise finance.
I want to write more books, see my first novel made into a film, fight more campaigns, work in more countries. I want to be able to recall experiences that have endured for their pleasure and range and intensity.
But in fact if you look at film as a metaphor, only through the negative can you have the positive print. What I'm trying to get to is the positive value of negation.
I've love to do more movies. Just because I'm interested in the medium very much. I've done a lot of theatre at this point, and I've done a lot of TV. I've done a few independent films, but a lot of them have not seen the light of day. It'd be really nice to be in a film that gets out there.
Music is the subliminal connecting adhesive in film, or at least in narrative feature films.
I don't generally find myself listening to the music of a film unless there's something awfully wrong with it.
When I see a film I've finished, it's like another person made it. Like another mind.
To try and raise a budget for a film that is strictly for adults and both strong and graphic in content is not easy, especially when there is pressure to spend serious money on good special effects.
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