I didn't watch a lot of TV growing up; I watched more films.
I had just had small parts in other films, and I'd worked with a lot of directors in TV.
I think a smart person today realizes that you have to be part of the art films that are done just for the sake of the art.
For some peculiar reason, two films about Oscar Wilde were started at the same time, back in 1959 or 1960. I played Wilde in one, and Robert Morley was in the other. As it turned out, at that particular moment there was no market for any Oscar Wilde movie at all.
I think of my films as not necessarily political but more moral. Between my father, my stepfather, and my mother - they all felt pretty passionately about the importance of standing up and doing the right thing, and none of them were suck-ups. What motivates me is usually abuse of power.
I've sort of left the theater just for little shoots here and there - little one-off series or small roles in films or whatever.
What is it like when you see me in all these films and then you meet me? Were you intimidated?
I think the problem I have with films is that, because there's so much hype around them, they become bigger than they should be, really. There are things that people do every day in their little workshops that they'll take to heaven with them. You've got to realise that it's not everything, making films.
I love being able to change from big films to small films.
A l lot of films I've done are essentially about women who are finding their voice, women who don't know themselves well.
Movies are very hard to make, to get it all to come together. So many people have their say in what the end product of films are.
I couldn't see my father's films because they were restricted and we didn't have videos or DVDs back then.
Films are big hits when they touch a lot of people. Things are not funny in a vacuum, they're funny because we respond to some personal dislocation, some embarrassment, some humiliation, some pain we've suffered, or some desire we have.
I think that George Lucas' 'Star Wars' films are fantastic. What he's done, which I admire, is he has taken all the money and profit from those films and poured it into developing digital sound and surround sound, which we are using today.
I've not really watched too many English films. I've grown up watching Indian cinema, mostly.
With 'Apollo 13,' I wasn't sure the genre would work, because space films hadn't done that well.
I like the fact that major studios have been attempting horror films recently.
Now, more then ever, we have the ability to make films for almost nothing and that's broken down all barriers of entry. I think it's a new golden age of film-making. With that, there needs to be the ability to recoup investment dollars, people need to make money.
Horror films have always been quite operatic for me. I always sort of scratch my head at people's offense to them? If you don't get them, and you don't like them, then don't watch them.
I really enjoy working on small films.
I like the variety. But basically my choice of films is a small intimate film. Quiet film, no action, just people in relationships. That's what I like the most.
You know, often films that are deemed positive, nobody wants to see them.
I look forward to having the time and the opportunity to take on new challenges, but I'm also aware that I've loved every minute of the 'Potter 'experience: to make films for an enthusiastic audience and work with great material.
Yes, I was correctly quoted in saying I introduced sex into films in the 20's, but it was sex in good taste and left a great deal to one's imagination.
I want to be talked about for the films I am doing rather than a party I attended, the dress I wore, and the men I may have met and dated. In any case, by and large I think I have spoken about more for the profession I am in than my personal life. That's the way I like it because frankly, I don't really have a personal life to begin with.
I think every director has a different take, some are good, some are bad. The directors you get on best with sometimes don't make the best films, so who's to say who is right.
I was a big fan of the Tim Burton films. I really liked the character. And I remember thinking the Batmobile was very cool.
With today's fast films, you can light the way your eye sees the scene. You can abuse the film and create subtleties in contrast with light and exposure, diffusion and filters. That's what makes it an art.
I really love horror novels, horror films, that are pointing at deeper ideas and thematic meaning. It's a way of thinking about films differently; that's what I think I like the most about it. I love the fact that's it's pointing at a more mysterious world - that the world is more of a mysterious place than we tend to let ourselves believe.
You can have ambiguity in television that you are not allowed in film... at least in Hollywood studio films.
In America there's no rights for the artist, so whatever films I've made kind of belong to the studio.
I tried to dance in my earlier films, but it was more like struggling to stay afloat once you are thrown into the water.
Obviously I've had great experiences with people I've worked with on films - I've married half of them! I should come with a warning sign that says, 'Don't worry, I'm not going to try to marry you. I'm done.'
Sometimes, I feel the reason I have become a star beyond my films is that I am politically incorrect.
I have to tell everyone that when I finish a film and it goes out and is released, I never look at my films again. I don't like looking back. I don't even like talking about 'em! So I'm really digging back in my memory because I don't like to sit and look at my films again.
I don't feel like my films are about gender; they are about identity - but a different slant on identity.
