'Mr. Smith Goes to Washington' is one of the greatest films of all time.
I'm glad that my films have been consistently faring well rather than one stray Friday!
I can think of films that I'm producing right now that are extremely hard-hitting, graphic films, that nobody necessarily wants to see, graphic in terms of violence, of adult content and racial and historical subject matter.
I try to pull my inspirations from everyday life. If I came across a situation that is like, 'Oh, that's going to be scary, that's going to be frightening,' that's when I get inspired, and I put that into my films.
'Death Sentence' really is a throwback to the '70s style revenge drama with moments of action. It's like a contemporary 'Death Wish' with a much more thriller style storyline, but the action scenes I shot very much in the style of '70s films like 'The French Connection.'
It is important to keep the filmmakers interested in you so they can offer you everything and anything. We actors are not given work on the basis of audience poll; the filmmaker will cast you after they see and like your work. It is essential to do different kind of films and not get typecast.
I have done several films, but I've mostly done TV, and 99% of the work I've done has been in Japan.
You have independent films and independent music, but you don't have independent theme parks - I think, in a way, Burning Man is as close, probably, as you get.
I try to be eclectic in my choice of films. If I've done anything that's intentional in my career, it's to try to do as many different types of characters and as many different types of genres of movies that I can.
I'd seen my dad on stage, and that was fine, but the real excitement was - that was my dad. Even now, when I see his films, he's always my favourite person in the movie.
I learn a lot as a director from acting in other people's films and just in general.
I can't say that I wouldn't prefer to make small films, basically because I think they are probably more interesting in terms of the material. But every now and again, it's quite good to do a big one.
I was offered 10-12 films during the time that we were working on 'Paani.'
My fighting style, if you will, is a combination of mimicking, cowboy films and boxing that I have done throughout my life.
Films must all have the same structure. All of this to guarantee box office bonanza, which of course it never does, but that's another discussion entirely.
I really want to do more mature, artistic, twisted, edgy films. That is my goal.
Between the ages of 18 and 20, I made three hour-long films. One was a superhero film called 'Carbolic Soap.' One was a cop film called 'Dead Right.' And the other was called 'A Fistful Of Fingers.'
This is an age where you could put anything on YouTube; people can make films on their own.
I was studying to be an architect, I wasn't plotting to join the movies. Films were just another career option. I took acting up with the same schoolgirl enthusiasm I had for examinations. Acting is a job and I take it very seriously.
And sometimes I do films so my daughter can see me work.
I've never cared for the character I generally played in films.
I have two sisters, so we watched all of the Disney films. I think I still know the lyrics to them all.
I'm ready for theatre. I'm ready for dramas, period stuff, films. I want to achieve everything.
Though films have established me as an actor, dance has given me an identity and a boost to my career, and I am thankful to God for that.
I love films where you go into the cinema and loosen the edges of yourself and you hopefully enter into the world of the film. You're watching something unfold before you. I prefer the idea of wonder or intense wonder over shock or something.
All of a sudden, there are great Japanese films, or great Italian films, or great Australian films. It's usually because there are a number of people that cross-pollinated each other.
I love being part of this industry, but at the end of the day, it is a job, and I like to have a life beyond films.
The need to look behind the curtain is great for a filmmaker. But whether you want to deconstruct what you like as a viewer, what you like and don't like, I wish we could let films stand on their own a little bit.
When I'm in America, I like to be near the sea, listen to music, watch films, read and write.
You finish a project and start looking for something that might interest you. A lot of the films I've made are a reaction to something I've done right before.
A lot of more modern films seem to just be out for violence or sex or what have you, without relating it to what's going within human beings. But every now and then one comes along that does that, and it's a joy.
I've always been a fan of my father's films. I'm crazy about my father and his movies. If I promote his movies, it's because of this.
For 'Toy Story 3' to be recognized by the Academy as not only one of the best animated films of the year, but also as one of the 10 best pictures of the year, is both humbling and overwhelming.
My dream is to one day own a country house on the shore in England, have gotten married, wipe some debt off and get a few more good films.
It's a fairly common phenomenon of London life - people having fully developed critiques of books they haven't read and films they haven't seen. I'd probably include myself in that.
I was turning up at sets where inexperienced people were making these badly written films - but they were doing it; that was the point. They were getting their films out there. And they were paying me, so they obviously had access to money. I just thought, 'I can make something better than this.'
