There's a film there in competition [of Sundance Film Festival] called To The Bone. It's directed by Marti Noxon. I have a supporting role in it. It got really well received. It's a really great film.
[Russel Crowe] has been through a lot and had a lot of success. No one knew who he was when I worked with him 12 years ago. He's just come off a great film in Australia- Romper Stomper - and so it was good to see him again. Obviously, I'd seen him since.
I did my friend's film - this guy Harrison Atkins who's a great filmmaker. He just makes movies with all his friends, and I think that's all what we're striving for - to feel like we're among friends and people who care about each other. I'd like to think that good work comes from that - from a sort of loving and friendly environment.
I'm very pragmatic in that I know there are very few greats in anything. I got lucky just to have gotten two of the real great filmmakers very early on. Better to have had them than to not have had them. I've been really fortunate. That's the key relationship on a movie: the director and the actor. Of course, you can't compare the experiences. When you're in your early 20s, you're a very different person. It was a very exciting time, and my whole world was changing. Now I'm looking back, and hoping I can still offer something. Still do good work.
I had always been affected by films, as well, of course - and great films.
I grew up as a reader as well as a movie-lover, so many of the novelists I admired - and so many of the great filmmakers I loved - were self-taught.
Working with David Ayer...the guy is a great filmmaker.
When you have all the bells and whistles - you've got the big, fancy catering, you've got the big, fancy car service and the big, fancy trailer - it makes it very comfortable and everybody's making a lot of money. But that doesn't necessarily mean you're going to end up with a great film.
I really like the George Clooney of Solaris also filmed by Andrei Tarkovsky, before Steven Soderbergh: that's very obviously sci-fi, and it seems to me a great film. But whatever pigeon-hole you put Stalker into you would both be increasing the risk of disappointing people and diminishing the film.
In a great play or a great film, there's a rehearsal period and they find this character. On TV, everything moves fast.
What I want to do is make films that astonish people, that astound people, and I hope you want to do that too. It's easy to make money. It's easy to make films like everybody else. But to make films that explode like grenades in people's heads and leave shrapnel for the rest of their lives is a very important thing. That's what the great filmmakers did for me. I've got images from Fellini, from Bergman, from Kurowsawa, from Bunuel, all stuck in my brain.
I just like good stories. I like really interesting scripts, I love really great filmmakers. And I'm open to all genres and all stories. But, there's certain ones that attract me, and I don't really sort of look at what I think is going to be successful, I look at more so, you know, is this what I want to do regardless of what everybody else thinks?
For me, it's always filmmaker and then character and then story. They're all equally important but if you don't have a great filmmaker, you will not have a great film unless you just get lucky.
When I was a kid, I thought movie stars were women and men who were in these great films that we still look at now. But I don't think there are too many films coming out these days that we're going to look at in the future and say, "This is one of the great ones."
Great art direction is NOT the same thing as great film direction!
All the great novels, all the great films, all the great dramas are fictions that actually tell us the truth about us or about human nature or about human situations without being tied into the minutia of documentary events. Otherwise we might as well just make documentaries.
I never had a great role in a great film.
I was indeed a snob, if you agree with this definition: 'A person who believes that their tastes in a particular area are superior to those of other people.' I do believe that. Not superior to all other people, but to some, most probably including those who think Transformers: Revenge of The Fallen is a great film. That is not simply ego on my part. It is a faith that after writing and teaching about films for more than 40 years, my tastes are more evolved than those of a fanboy.
All great films are a resolution of a conflict between darkness and light. There is no single right way to express yourself. There are infinite possibilities for the use of light with shadows and colors. The decisions you make about composition, movement and the countless combinations of these and other variables is what makes it an art.
Roman Polanski is a man who cares deeply about his art and its place in this world. What happened to him on his incredible path is filled with tragedy, and most men would have collapsed. Instead, he became a great artist and continues to make great films.
Yeah, Dundee was great. It was a great film. I fell in love with my Mexican wife on Dundee.
I've always believed that if you want to really try and make a great film, not a good film, but a great film, you have to take a lot of risks.
I'm not looking for a challenge, necessarily. I'm looking to make a really great film.
I'm an enormous admirer of Christopher Lee. He's somebody, along with Vincent Price, who I celebrate, and I wanted my movies to show that celebration and that honoring of these great film stars that were unafraid to go into horror and Grand Guignol and the macabre.
I'm very happy to be involved with great filmmakers.
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