I have always been of the mind that good work is good work, whether performed on stage, on television or in film and, like any reasonable actor, I keep my options open.
Well, for me, the real excitement of doing physical things in films, whether you're talking about a fight scene or a stunt sequence or even a love scene, for that matter, is by necessity it has to be choreographed very much like a dance. That being said, you have to rehearse it over and over again and find a mathematical precision.
I'd be lying if I said it wasn't fun to go to these nights out, like the opening of a film or something, but I dip in and out of it.
People are scared to make something that doesn't look like another film that made a lot of money. It means we get 'Four Weddings And A Funeral' made again and again.
We make films that we ourselves would want to see and then hope that other people would want to see it. If you try to analyze audiences or think there's some sophisticated recipe for success, then I think you are doomed. You're making it too complicated.
I've never done a big studio film, I've only ever done little ones.
A lot of film directors are quite scared of actors. They are a bit of a nightmare sometimes, but I like them. It looks like cunning, but you try to get extra things from them all the time, by stealth, by making them feel confident, so they trust you and you can push a bit.
I don't want people to sit there and objectively watch the film. I want them to experience it as something that's under their skin, so you try to make the films really tactile.
I don't want to make pompous, serious films.
I made this film 'The Beach,' which didn't take place in a city, and it didn't really suit me.
Film people are coming into TV, because they can't get any work.
I left my parents' home when I was 22, I moved to New York with my ex-girlfriend. We did a film together with Raul Julia.
Lincoln' is a powerful film. It's one of those epic films that talk about this very specific issue in history of the United States.
When you do a film, all you want is to make the best film possible. You don't think about Oscars. But it's really flattering. Please, bring it on!
When you shoot a film, you have very little time to waste, and I try to go into the character as soon as possible and stay there as much as I can.
Once you work with a studio on a film, the studio is sort of like this enormous clam that just opens, takes everything and then closes, and no one enters again. They own it all.
I'm betting that in two years I'll be talking to you about a film that I shot on an iPhone. It's absolutely coming, I have no doubt in my mind.
It's so hard to raise money for independent films and the fact of the matter is that the bigger my star or whatever is, as a result of doing bigger pictures, the easier it is for me to get money for my own projects.
Newlyweds shooting budget: 5k for actors, 2k insurance, 2k food and drink. 9k in the can. We only shot 12 days. That's how to make an independent film.
The way I see it, when I go out as an actor, it should be on a type of film I'm never going to do as a director.
I don't want to be in the film business. I'm not even sure it's a business.
I had to work out where I was going, what type of films I wanted to make. For that reason, I decided to choose independent productions, less important roles, and I tried theater, too.
It's a sin to have your films not to make money.
I did 10 years of comedies and 10 years of Westerns. I really like to stay away from car chases. I prefer the more intimate film. You have a much more direct association with the emotions.
Today you have something like A Film by Joe Harry. That is patently asinine and ridiculous.
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