I grew up on film scores and scores from films.
There are a lot of bad films out there. There's a lot of bad architecture out there, and I think sometimes it takes a lot of time to begin to see what's really good. And I think what the test seems to be is, what really sticks with you. And what really becomes a part of your life.
I think in art, but especially in films, people are trying to confirm their own existences.
People either know Alan Rudolph and love every single one of his films or they don't know him at all.
'Insidious' is independent. It's like the 'Clerks' of horror films, you know?
I did enjoy theater. I actually do prefer making films and television, but it was a learning experience for me, because I got into television at 5 and film at 11, and theater was something I completely bypassed.
I think Michael Caine is a perfectly good actor but it's obvious he's not going to be in one of my films.
One of the major issues that's constantly batted around Hollywood and the media is my industry's responsibility toward the portrayal of violence. There's the irony of the films that glorify it and the individuals taking positions against it. It's a very confusing, confounding place.
There are some sequences in films that I think work filmicly, that stand out to me, but that's much more to do with the staging and the cutting and the mood of the thing as a sequence, the way everything comes together.
I look back, and I've got a couple of films, and I'm happy.
Samurai films, like westerns, need not be familiar genre stories. They can expand to contain stories of ethical challenges and human tragedy.
It's gotten out of control. It's taking bigger and bigger names to make smaller and smaller films. I worry that important films without a big name attached won't get made at all.
In a lot of my films, the biggest theme is family, making families out of those around you.
All of Wes Anderson's films are confections, memoirs created in cinematic snow globes, with the subtext that memory is the most extraordinary confection of all.
I think I am kind of put on this Earth to speak of being between worlds in my films.
My friends and I make short films. We pretended to rob the Dairy Queen where our friend worked, but someone thought we were real thieves and called the cops! Soon, the cops burst in with guns drawn!
In silent films, quite complex plots are built around action, setting, and the actors' gestures and facial expressions, with a very few storyboards to nail down specific plot points.
I love working on films and I'd love to do some interesting work, but if somebody asked me, 'Would you like 'Human Target' to continue to be picked up?' The answer is 'Absolutely!' I love working on this show. I love playing Guerrero. I love seeing where it's going.
I like watching films that can play in any language because they're essentially silent.
I think, in life, we want to surround ourselves with people who make us think and question ourselves, and those are the types of films I want to do and the types of characters that I hope I get to continue to play.
I don't just act to pay my rent. I really like doing it, so I get frustrated when I don't get to do it all the time, so short films are a really great way to be doing it and working with your friends, working on smaller, more specific things without limiting yourself in other ways.
Technical skill counts for nothing if it is used only to manufacture films which have little to do with humanity.
When I make films, I work with Mike Leigh, who's the most prolific director in England.
I think I'm drawn to films more as a director with a directorial mind even as an actor. I make movies to make the films, not to act.
You have to make enough noise to be cast in the right films, and the best way to make that noise is to do lots of good work.
I didn't fall in love with acting until I did a few films. Now, I couldn't live without it.
The black groups that boycott certain films would do better to get the money together to make the films they want to see, or stay in church and leave us to our work.
I never really planned on making action films. It just kind of happened.
I am done with the cliched heroine roles. I can't go to work without a challenge. I want to do films that drive me, films in which I am a part of the main plot.
I have always done films with friends rather than strangers.
My dad showed me loads of films when I was young, but I never thought I would be in movies. That didn't seem like a real job to me.
The only folk I can judge are people like Woody Allen who I think is a genius, largely because I think he has beaten the system. He has his own company, and his films are all his own ideas. It's his direction, and so it comes out the way he imagined it.
I studied mass media and brand management and was looking to do an MBA. When an acting offer came by, I thought I'll do one film so that it would look good on my CV. Films happened one after another, in different industries. I'm so glad things turned out the way they did.
I am a filmmaker. That is all I've ever been. You know, Martin Scorsese makes films about the mob. And I make movies about food.
My soul is not my own any more. I cannot live like I want to. I am going to give up films.
From my childhood, I have watched a lot of action films, and I am a big fan of Jackie Chan.
