I know some black actresses who have to wait every 19 films for a role. I can be cast in practically every one as a young white male.
I've said this before, but after 'That '70s Show' ended, I solely wanted do films that inspire me, and to work with people who make me better. I wanted to just surround myself with people who I think are better than I am, whether they're actors or directors or producers, so that I could learn from them.
There was a period around Columbine when horror films were being kind of assailed by the government. The studios got very afraid that they were going to be sued, and studios at about that time were all being taken over by corporations.
I didn't see many films until I was in college teaching.
Everyone looks at our films and thinks that we are somehow able to make movie after movie that does well and is entertaining, but there's an enormous amount of work that goes on under the hood and an enormous number of mistakes that are made along the way.
Often, films about people with disabilities are from the outside looking in.
I love making films, but the best roles are hard to come by.
Films and gramophone records, music, books and buildings show clearly how vigorously a man's life and work go on after his 'death,' whether we feel it or not, whether we are aware of the individual names or not. There is no such thing as death according to our view!
I am married to the theater, and the films are only my mistress.
Everyone talks about reality TV and that there are no roles left. That's false. Years ago, there were three networks. Now there are 20 cable networks and so many ways for films to be exhibited. It's an exciting time for actors, writers, directors, and producers.
My films are always concerned with family, friendship, honor, and patriotism.
I've always described parts as tattoos. For actors our tattoos are in the form of films.
The most heinous shift in American films is that they reinforce good things like 'couples' and 'relationships.'
No offense to the Canadians, but I believe location is like a character, and authenticity really matters. When you're in a place like New York or D.C., you just can't beat it, and it's so hard to recreate because they are both such distinctive places. I think it's pretty easy these days to tell films that are shot in Toronto.
I love action-adventure-type films - mythical adventures like 'Lord of the Rings' or superhero films like 'Batman.'
Doing films in Latin America is like an act of faith. I mean, you really have to believe in what you're doing because if not, you feel like it's a waste of time because you might as well be doing something that at least pays you the rent.
I wouldn't say I'm a connoisseur of film. I like certain films, but I don't pretend to be a connoisseur of films, no.
I think I read films having grown up around the pre-production and post-production aspect of the filmmaking medium, a lot more than most young people who are in acting would have experienced. I do think about scripts in a different way. I can't just read a script as an actor. I don't know how to do that.
After I left college, I went to work at the Royal Opera House in London, which became a real catalyst for me because it made me realize that I was interested in cinema and in the way life is thrust at you. So I started making films.
I don't think German films have to be heavy or intellectual the way they sometimes used to be.
Foreign capital to build new cinemas will help modernize China's aging cinema infrastructure, attract Chinese consumers back into cinemas, and increase demand for U.S. films.
To make independent films, you can't think about them too much, ponder on them too much, get overwhelmed by the enormity of it.
I said I would do all the films about the commercials, and the films about ball-bearings and Ford tractors and so on, if once a year they gave me money for a free film.
He's wrong. That's why his films look so terrible.
I don't study films particularly. I plan to direct, but I'm not watching film - I watch the entire film to see how the story goes, but I don't say, 'Oh, so he does a slow pan here, or he pulls here, watch the crane shot, or look at the composition,' because it's got to be my eye.
I made a series of wrong decisions about moderately recent books, and I've sold the rights to studios for ridiculous amounts of money and the films have never been made. That's the saddest thing of all, because they're locked up and no one else can make them.
I am a fan of the 'Rocky' films, and 'Rocky 4' is my favourite. I also like 'The Warriors.'
Other writers, producers, and directors of low-budget films would often put down the film they were making, saying it was just something to make money with. I never felt that. If I took the assignment, I'd give it my best shot.
I reckon I closed down at least two films companies, one of which was in Ealing in the mid 1950s.
It was very weird because for a long time no one really recognised me from my films, but 'The Hobbit' has totally changed that, and I've had some really special moments, especially with youngsters.
Sometimes movies that I'm in that I have a leading role don't necessarily get the biggest release, so it's a difficult thing between balancing indies that have uncertain futures and maybe larger films that have guaranteed releases that you have a smaller part in.
I find that on most films it's very difficult to have a backlit movie in an exterior.
It never occurred to me that I'd be on a television show or in feature films but when those came into play my dreams changed along the way.
I'm sure the movie industry is going up but I would love to see more Chinese films about contemporary Chinese about the problems of life on the street.
In films, the fact that you can always do a scene again takes a load off your mind, enabling you to strive for perfection, which I always wanted.
'Pulp Fiction' blew my mind; beforehand, I'd watch films and there was a beginning, middle and an end, and that's it. There is in that film, too, but it's out of sequence.
