I think the films we see, the Hollywood films, which are basically entertainment, will still be there, but they'll be in a totally different category. People won't take them seriously. They'll kind of end up the way comic books have. A side view of things.
I love the live performances and Las Vegas. I also like making films that are being discovered by another generation. Having been a teen idol of the '60s is great because you realize you left your generation with a smile and good memories.
The fact that I have done films down South didn't boost or hamper my chances here. In fact, I was still shooting for both my Telugu films when I met Ashu sir for 'Mohenjo Daro.' During the audition, he gave me five scenes with lengthy dialogues. Once I cleared them, he gave me a song to dance to. So, my Bollywood entry was no cakewalk.
I like to do all kinds of films.
This business is based on numbers, and the numbers show that it's worth investing in female-driven and female-directed films.
I just want my films to work. The hit or flop verdict really affects me. I seriously analyse what went wrong if a film turns out to be a dud!
When I was in my teens and into my early 20s, I had acne. I used to get those big purple jobs, but not a lot of them, thank goodness, because you really couldn't see them in the films that I did.
I've worked with Lars von Trier on many films, and there's always a female character that's like an open wound - everything just pours out of this person.
I like superhero films, and I love Star Wars movies, but I want to make sure there's a wide diaspora of films getting made.
The films I want to make, I really want to be passionate about.
I deliberately never read about films before I see them.
I used to do small roles in Western films.
Mel Brooks is an interesting one because he started out making films about stuff that he was totally affectionate about, like musicals, westerns, horror films, Hitchcock films. And then, as they get further on, and you get to 'Spaceballs,' then it's just kind of contrived.
As an actor with a star status, I can't restrict myself to one type of films and roles.
Walt Disney wasn't making films for kids. Neither were the Muppets. A lot of the great, really cool films, they weren't making them for kids.
The money I earn from films means I can help the people I want to help - you can do a lot of good if you want to.
I would like to see more films being made with people of color behind the camera and in front of the camera, because the more times at bat we have, the better we get.
People go into a gallery, and they're afraid to express their opinions about art. No one's afraid to say, 'Keanu Reeves was bad in that movie.' We see so many films that we can tell who's faking it. But with art, we can't always tell.
No matter what, I'm in a very small club. There are very few women who have directed studio-level commercial films - very few.
Kenny Lonergan, as a filmmaker, doesn't tell stories so much as he observes them, which is to say, his films don't come pre-digested. You have to bring your own enzymes. It's a more gripping and challenging experience.
Franchises aren't to be avoided. They can be exciting, and they give you opportunities to do other films.
You have to, in a way, just get your head down and do the work and not expect every day to bring riches and not expect every minute to bring wild excitement, 'cause it just doesn't. It doesn't on films, anyway.
I make films about black women and it doesn't mean that you can't see them as a black man, doesn't mean that he can't see them as a white man or she can't see them as a white woman.
If my film does not do well, it really hurts me. But by God's grace, even if some of my films may not have done well, people have still liked my work in it.
The 'Station to Station' film is made entirely out of one-minute films, and each of the 62 minutes is a completely different person, place or encounter.
So it is that one side effect of the HD revolution has been the gratifying and edifying return of the nature documentary - films about the hugely varied forms of life that eat, sleep, stalk, mate, fight, thrive, suffer and struggle on our dear and embattled old Earth.
I am an actor and mouldable enough to do films like '2 States,' 'Gunday,' and 'Finding Fanny.'
Definitely, I want to continue doing films and television, but my heart is in music. I've written for most of my life.
I think about my films for a long time, maybe years, but I write them in days.
My early films were very European based. It was 'As It Is In Heaven,' 'Together,' they were great international successes, but then I did, I think, 60 movies or something.
My father's films are often very slow for the modern audiences, which are used to a lot of editing. It's the audience that watches the film instead of the director dictating the reaction he wants from you.
People come to Cannes just to advertise their films, not with a particular message. But the advantage is that if you go to the festival, you get so much press coverage in three days that it advertises the film for the rest of the year.
It is interesting: in France, the horror films are not so popular. People go to see them, but not for the same reason. It is more artistic and process.
I'm looking to produce more stuff: TV shows, commercials, music videos and short films. I'm building my catalog so I can have some fun in between the times that I get to a movie.
I feel glamour has a legit place on the ramp and in the fashion world. In films, glamour has to service the story.
Our distorted media culture sees men as subjects and women as objects; in films, Woody Allen gets older and older and still dates 20-year-old babes; movies about women are called 'chick flicks,' and men make fun of them.
