I would like to employ more people but I don't want to empower my charities at the cost of exploiting people or doing things that are not useful, so I'm working on that.
What takes its place is very dry education. And the tools that actually can teach you - singing and playing, learning how to participate with other people, spiritual richness - are replaced with a big emphasis on how to memorize things. That's such an incomplete education. Survival of the fittest used to mean being bigger and stronger.
When those who are educated using their education to exploit those who aren't. That's what the sub-prime scandal represents - people of education using it at the expense of others. At Jazz at Lincoln Center, we have 22 educational programs. Not just the word but the substance of education is guided by the arts.
There are many places that people can produce really good food. I wouldn't limit it to an area of the country, it's what the chefs have in them.
I think that both Luca [ Guadagnino]and I have a kind of resistance to the idea of a film holding a moral message because that would exclude so many people from feeling that it was their film and it's important for a piece of work to feel owned by every member of the audience.
I've only ever gone into studio films with people I really like.
People talk about perfect timing, but I think everything is perfect in its moment; you just want to capture that.
What very often happens when people make films about rich people, the camera is quite mesmerised by the opulence and quite theatrical in fact.
The only people that recognize me are the hardcore fans, and I always find that really flattering. I think it is super cool.
I love going to all kinds of movies, I screen DVDs in my house, but I go to the theatre a lot in the afternoon. I don't get bugged because there aren't many people around.
Smoking pot makes people talk for long periods of time, for instance, so people who advocate pot won't shut the hell up about it.
Individuality is vitally important. When people start to lose their individuality is when I believe they start to lose themselves. I think children are born with this message, and it shouldn't be taken away from them. I hope they walk away with it after seeing the film, and adults too. And I notice it also with myself, because the older I get, the more I embrace my own idiosyncrasies.
I would hope with all my heart that people understand this and see it in the film. And there are also other messages in Happy Feet, like racial and environmental ones, but none of them are so overt. George has made a great story about penguins with a lot of humanity in it and audiences can follow a species we don't know that well.
I know that's not something that people like to do - identify a favorite. But I do.
I think of great masters, like [Alfred] Hitchcock, for example, who works absolutely within this sensational realm. You feel like you can always tell what temperature a room is in a Hitchcock film because the people feel alive, they don't feel like they're just being filmed on a stage.
I was always, and I still am to a certain extent, one of those lazy people who spends a lot of time with Italian friends and yet constantly says I don't speak Italian. Things slow down when I start speaking Italian.
Whatever I was able to do with those experiences certainly contribute to whatever I'm able to do as a director. The corruption in that is that most of what I acted in the last 10 years was to steal film school time from these guys. Those were the people I thought I could learn from as a director.
But I'm not a small-literary-novel kind of guy, and once I'd developed the world in the first couple of hundred pages, I felt that there was potential here to go on and write an engaging story set in that world. So that's what I did. This probably ruins things both for the people who want small literary novels and for those who want action-packed epics, but anyway, it's what I wrote.
When I was a child I had a dream to become a football player. I always played as I played when I was a child. I tried to improve. I never dreamt of becoming a professional football player, I dreamed just to play with the best players in the best team. I never dreamed to be paid to play. I would have paid to play an FA Cup Final in front of 80,000 people in Wembley. I just tried to play the wonderful game that football is. So, I hope young players will still have this dream.
With a role like Hedda Gabler, which is incredibly complicated, you often feel that you haven't even scratched the surface the first time around, so you relish the opportunity to do it again, particularly with an ensemble of actors and the company we assembled. But when you do that in films you somehow have to make some attempt to uncross people's arms and you have to justify why you're doing it.
We're growing up with a very illiterate bunch of children who have somehow been taught that film is fact when, in fact, it's invention. Hopefully, an historical film will inspire people to go and read about the history but in the end it is a work of fiction and selection. As for the armour itself, no it wasn't particularly comfortable.
At a certain point, I stopped seeing my clothing worn by people on the streets . . . It seemed like they were being treated as museum items.
Obviously, when I came to do the movie I knew that I was going to have to take my clothes off so I might have worked a little bit harder to keep myself fit. But I think that's the irony of it - you see all these fit and healthy people, and I'm not making any comments on it, but everybody deep down is a f**k up somewhere.
I can tell you that my contribution based on my interpretation of the book is unchanged. The other things, in terms of doing the research and following the trail of it, were probably pretty similar to what I would have done then. I think that what makes me celebrate that it took the 10 years is the various other people and contributors that I ended up having on board.
I can't imagine being quite as lucky at any other time - I certainly never have been before. That goes right down from my producing partners to people like Eddie Vedder. But the two things that make me feel that this was meant to be now and not before was that the story itself has more resonance today - I find it a more important story today than it was then - and Emile.
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