When I started, with films like 'The Bay Boy' and 'Stand by Me', I look back on those interviews and I'm amazed; there's no mention of my father; it's not even 'son of Donald Sutherland.' I caught a bit of a break in that it never felt like a weight to me.
Usually, family films have characters speaking with each other with much dignity and respect.
If you see a bad live action film, what are the conclusions you draw? Typically, it is that they made a bunch of mistakes, a bad script, wrong casting. You get into 2D, and you get a few films that are not strong films. And what is the conclusion? That it's 2D? I beg to differ. It's a convenient excuse, but it's just wrong.
I don't want to be a part of the demographics. I want to be an individual. I wear each of my films as a badge of pride. That's why I cherish all my bad reviews. If the critics start liking my movies, then I'm in deep trouble.
I've made a dozen films in the English language. But then, for love, for my family and friends, I returned to Europe... I annoyingly - looking back - turned down films like 007, 'For Your Eyes Only,' written specially for me.
For me, making films is about trying to work something out by myself in quite a lonely way. I find the whole thing very lonely really.
Well, first of all, making films is a collaborative process. You need people. You need people you trust and love and who are your friends. People you can work with.
Each production has certain circumstances that will bring you to a certain way of making it. It is not intentional, it is not an artistic decision, the way we make films, it is the way we address to our problems.
I would love to get into feature films; I'm willing to do an action flick, I'm willing to do a romantic comedy.
In life, you see younger men and older women, and the majority of marriages don't have such a huge age gap as we're used to seeing in films.
I do films which get me out of my comedian routine so that I don't get bored being a stand-up comedian. And with films, it's here today, gone tomorrow. So stand-up comedy is here to stay for me.
I grew up in Evanston and lived in Chicago for a long time, in Old Town and Wrigleyville. I did three films when I was in high school. The first was 'Class,' with Rob Lowe. I had a supporting role in that.
What 'Shaun of the Dead' and 'Hot Fuzz' and 'World's End' do is smuggle a different movie under the guise of a zombie movie or a cop or alien invasion movie. Even though they all have action and carnage, they are really films about growing up and taking responsibility.
Some films, you're lucky enough to get some rehearsal, which is just basic going through the scene, and, 'These are my questions, and this is what I'm trying to achieve,' and you work things out, and maybe a few line changes here or there.
I like my films to have a certain amount of realism - something that's thought provoking and intelligently written. More than the amount on the pay cheque, I look for a level of respectability as an actor.
In terms of negotiating a career - I've always grown up being an insider and an outsider to different worlds, across different classes and cultures, so I have always naturally liked making films or music that puts things in unexpected places.
The period from 2001 to 2005 was really tough. My films were not working even though there was an acceptance of a model. I was depressed but did not cry. I cry when I am happy.
I've been lucky. I've made films that I really like. It's been a combination of what comes to me and what I choose. I've gone after lots of things that I didn't get, pet projects that everybody ends up chasing after. Really, you're lucky if you get anything.
I love making fiction films as well as nonfiction ones, and hope to keep challenging myself to make better and better work.
The high-grossing films are not all that interesting to me, I have to say. It's not stuff I would want to be in. Yes, you would want the big paycheck, but that's never really been my concern.
I understood why films were made, and if they made a lot of money, they were successful. All of these things I knew. As a ten-year-old boy, I didn't really think a lot about finances or celebrity. I always viewed films as kind of what I imagined a summer camp to be like.
The horror films that I've made have been satirical in one way or another or political, and I really think that's the purpose of horror. I don't see that happening very often.
I love research. Sometimes I think writing novels is just an excuse to allow myself this leisurely time of getting to know a period and reading its books and watching its films. I see it as a real treat.
There are some films that really break the mold, and some films that don't. I've been looking for films that break the mold a bit.
My entire career stands on the strong pillars of women-oriented films. This stems from the fact that I am sensitive to the entire aura and mystique of a woman and womanhood.
I knew early on that I was a nerd and that films were my refuge. Those first few minutes before the lights went off, and you're alone in the theater waiting, were really pleasurable.
To me, discomfort is a gift in the films that I'm making.
Japanese horror films take the business of being frightening seriously. There is no attempt at postmodernism or humour. They are incredibly melancholy, with a strong emotional core, while remaining absolutely terrifying.
I don't make movies for the same reason that a lot of people do. I make films because I need to see them exist in a very specific way.
When you live in a small town like Iowa Falls, there's not a lot to do, so we would, as a family, watch a ton of films.
I accept all interpretations of my films. The only reality is before the camera. Each film I make is kind of a return to poetry for me, or at least an attempt to create a poem.
I love the grandiosity, how sweepingly entertaining films can be. And I think there's a place for films that pry more into the human condition.
I'm lucky enough to be able to make films and so I don't need a psychiatrist. I can sort out my fears and all those things with my work. That's an enormous privilege. That's the privilege of all artists, to be able to sort out their unhappiness and their neuroses in order to create something.
My films, no one else will do.
The 'Bourne' films totally reimagined and elevated the action genre.
I've been blessed in my career to be able to do studio and independent films.
