I think, on a larger note, that filmmakers and studios should start to tuck it in a little bit, because films wouldn't have the pressure they have if the word wasn't out about how expensive they were.
The usual key to getting films made seems to be a producer's terrier-like determination not to let it go. Unfortunately, such producers often seem prone to sinking their claws into mediocre projects.
But you can still find good films if you read your local film critics and are willing to drive a bit. You have to be a proactive film viewer to have the most provocative cinema life.
For a London play, rehearsal time would be four weeks for the entire show. In films, I'd spend six weeks on the big dance numbers to get them perfect before the actual shooting.
There are two kinds of directors: There's the kind where two plus two equals four, and you have to help them figure it out. And then there's the kind that throws you in a room, locks the door, sets the house on fire and films it.
It is said that anyone who does commercial cinema is not acting, and anyone who does an art film is acting. I don't believe it. I feel whenever you are doing a film, you are acting. So you need to be applauded for that. I won't do art house cinemas. I want to make commercial films. I want my films to make money.
When I'm directing films, I mostly try to create an environment on set that mimics what's in my mind as to the tone and feel of things. I try to create a place where you feel that anything's possible.
There have been a bunch of Indian films in English that found an audience.
Cocteau is someone who has made such a profound impression on me that there's no doubt he's influenced every one of my films.
I can't help seeing 'Waste Land' as the third in a triptych with my earlier films 'Devil's Playground' and 'Blindsight,' and not least in the awe and gratitude I feel for the group of people who were courageous enough to share their stories with us - and to live lives so rich in inspiration for us all.
Usually the films that I do are released theatrically in foreign markets. In the U.S., they're either picked up as HBO premier films or Showtime first-runs. In today's market, in America, you need at least $50 million for your budget to go to the big show, and I'm not quite there yet. But keep watching - maybe someday I will be.
Learning to make films is very easy. Learning what to make films about is very hard.
I don't see me doing $100 million films because $100 million films, the very nature of them, you need to offend as few people as possible just to make your money back.
But also, there are no films being made about Afghanistan.
I must say that when I left 'Doctor Who,' I was filled with... not loathing, but I was incredibly annoyed because I wanted to do more television and films and the only thing that people could ever see me in was a recreation of what I had done.
Only very rarely are foreigners or first-generation immigrants allowed to be nice people in American films. Those with an accent are bad guys.
My first film as an actor was 'Fast Times at Ridgemont High,' a glorious experience that spoiled me for future films.
Cinemas gained new young audiences who wanted films made for them.
I nearly drowned in the Xingu River in Brazil some years ago. When I was given my life back, I decided I wanted to make some changes, so I left acting to concentrate on producing films. I wanted to be in control of my own life.
My private life has nothing to do with my films.
A lot of the films I've made probably could have worked just as well 50 years ago, and that's just because I have a lot of old-fashion values.
I like all Jim Carrey films. They're really funny.
I still think like a critic, and I still analyze films like a critic. However, it's not possible to write criticism if you're making films.
Actors' performances in films are enhanced in a million different ways, down to the choice of camera shot by the director - whether it's in slow motion or whether it's quick cut - or... the choice of music behind the close-up or the costume that you're wearing or the makeup.
So most of my acting experience came in college when I was living away from them. I acted in various independent films, and I got some commercial work and stuff like that.
I never storyboard. I hate it. I don't understand why so many directors want to make comic strips of their films.
I didn't take theater or anything. We didn't have a very good theater program. It was in western Utah - was a really small school. It wasn't developed. We didn't have the funds to do anything like that, but I did act all through high school in films because Disney Channel would shoot movies out there.
From my films, you can at least learn about Iran, you can get a sense of the history and the society. But no such films have been made about Afghanistan, so you really can't know much about it.
I can watch films and say how technically beautiful they are, but I'm not impressed by any technicality.
What happened in the early days of Disney is that Walt Disney used all of the new technologies as they came out. When matting came out, they adopted it. They adopted sound and color and xerography. Walt did that. And then, when he died, people began to think that this is just about making films, so they stopped bringing in new technologies.
Britain is producing some of the worst films in the world. Our film industry is desperate to be part of America, and we just churn out flaccid imitations of bad films over there.
Showtime has given new, young filmmakers - black, white, across the board - an opportunity to make films, as well as actors who want to cross over into directing.
I just saw Memento. It's very, very good. I watch a lot of French films.
I hate working out. Because I work out for films now solely I come to associate it with work.
I was a huge movie watcher, but I really loved 'Kenan & Kel,' 'Rugrats,' 'Doug,' & 'Catdog.' I was also into drama films, though, and I really loved 'Poetic Justice' and 'Set it Off.'
Like I said about Freaked, people tend to find these films, and I think that in the end the cool thing about a movie is that it can be sort of burnt temporarily, but then it's burnt into the fabric of your culture.
