This black hole that people talk about in my career in the '70s, when I didn't make any films - in retrospect, what I was doing was learning my job.
I've done about four deaths in films now, and I think it's quite good because then it's sort of a memorable moment in the film.
I know from my own experience that great films and great actors can have a really big influence on you. There is a place for art in the world, and if you're lucky enough to be good at something and to keep being given work, it's not such a bad thing.
Onstage or in films, you do affect peoples' lives, and sometimes that's very gratifying. But still, there's this little voice that says you should be doing something that matters.
I did two films that have a great following. One is 'Caddyshack,' one is 'Tron.' To tell you the truth, most people don't know that it's me in both films.
Basically, I love films where everything is great and life is good.
What I like are films that take me seriously, that don't treat me as more stupid than I am.
My idea of a romantic night is to watch action films.
I love watching foreign films on my projector at home along with my closely knit group of friends and family. I also love to dissect movies and discuss them with my friends who are movie buffs.
Had 'Dhruva' not succeeded, I don't mind calling these films experimental.
I had more fun making Traffic than either of the Ocean's films.
My mother was keen that I complete my graduation and never ever wanted me to be in the movies, as my father had made five films that lost money. One of the films he made was 'Agneepath,' which was hugely hyped but underwhelming at the box office, and I remember that my dad had to sell my grandmother's flat to pay off the loan.
My good films were independent and my bad films were not.
You can't ignore the system and the power you acquire as an actor if you're in films that are successful.
I think it's always hard for people to get their head around the fact that populist, commercial films can also actually be great works of art.
Pixar films are not realistic. They are believable for the worlds we are creating.
I used to be very photogenic. My brother took a lot of pictures of me in Dubai. I thought maybe I could be a movie star. There was a hurdle, though - I didn't know anything about films.
There's no point in making films unless you intend to show us something special, otherwise just go out and watch a play.
I did important films when I was very young.
I read the comics long before I was ever involved with the films.
Do we root for Michael Corleone in the 'Godfather' films? I think so, even if he is a monster.
Oh, I love making independent films, it's such a special, magical thing because you collaborate with a small group of people and everyone's pitching in. You'll see producers setting up the lunch table and the sound guy driving a van. We're all really there because we want to be.
I believe, you know, as history unfolds, certain films will disappear, and certain ones will stand the test of time. And you never know which ones those are. And you've just got to go for the opportunities of films you think might be memorable.
Tyler Perry's brand is faith, family and this whole thing that I've built, while my company, 34th Street Films, is like Disney's Touchstone. We can do anything. People don't know what to expect from me yet.
I assisted on a lot of films outside my dad's company. I only did two of his films.
The lowest budget U.S. films are ten times times better than shooting in Tibet.
I've always been fascinated by horror films and genre films. And horror films harbored a fascination for me and always have been something I've wanted to watch and wanted to make.
All of the films that I've made are about the country I live in and grew up in... And I think if you're going to put an artist's eye to it, you're going to put a critical eye to it. I've always been interested in the gray area that exists between the black and white, or the red and blue, and that's where complexity lies.
The majority of work I do is in independent films, where you're lucky if you have five takes.
When I was new, I didn't know where my career will go. Initially, my films were not even successful, but then I learned a lot from my mistakes.
I'm in four different films this year, and I have four different accents. I sound different in every film. You have to love a character to play it well, and change in my work is what I want.
In films you do a scene, you play around with it and unless you're doing a lot of reshooting, which no one has the luxury to do, you deal with the problem for a day and then you move on. On some level, it never allows you to go very deep into what performing is about.
I was a bartender in New York and I overheard this girl saying she made $3000 doing a commercial. A kid at work told me, 'Hey, I know this director and he'd really like you!'. So I walked into this guy's office and was like 'I was thinking maybe I could make $3000' and he hired me for commercials, short films, like 15 jobs in a row.
I think drug movies free the director to make intense films.
I would certainly say that films like Time Code and the Loss of Sexual Innocence were far more rewarding to me in terms of being able to move forward as a filmmaker.
I worked in SRK and Salman Khan's films as a child artiste, so Bollywood has always been on my radar.
