For British cinema to survive, you really need a British film culture, and it's got to start down there, with young kids watching films in the cinema - so they can be transported to a different world.
I don't find anything interesting about the choices a character faces in major films or theater projects. The characters are just cut-out dolls with the American flag sewn on them.
I had no interest in cinema until I was 24 years old. My friends had posters of their favourite stars in their houses, but I was far from a film buff - very detached from films.
I would like to be able to be both a film actor and a stage actor - to be an American actor in the style of a lot the English actors who do films. They are these wonderful actors who can do everything.
If people are looking forward to my films, then I am happy, and I must be doing something right.
I was never really a child actor. I was working sporadically in indie films in Pennsylvania, but I was still living at home.
None of my films are 'Pollyanna.' They're not little deers walking around with butterflies and stuff. That's not what I do.
I've been working a long time, and mostly European films.
To be honest, I make very controversial films. The films that I've made have been very, very bold choices.
When you work on a Jerry Bruckheimer film, you can be sure of two things: no production value will be spared, and the catering will be as fine as any really really good restaurant. Jerry is an amazing producer, with a commitment to his films second to none.
I made a film about a person living with a disability. Those kinds of films are often about the disability, not who a person is.
My films have been successful, and therefore, the process has accommodated me. When the studio said 'no,' I did it anyhow. Now they don't say no to me.
Initially, I wanted to do films with A-list actors when I was struggling. I was hoping that I could also get that platform where I'm launched with Shah Rukh Khan, Salman Khan or Aamir Khan... and with them my career could also start, but it didn't happen. And then came 'Queen.'
For horror movies, color is reassuring because, at least in older films, it adds to the fakey-ness.
Whatever my father did were great films. I don't want to remake any of them.
Televisa is the largest media company in the Spanish-speaking world, and the steps we have taken, which extend the tenure of our exclusive access to Televisa's premium Spanish-language telenovelas, sports, sitcoms, reality series, news programs and feature films, put Univision in a stronger competitive position.
At one point, I was greenlighting films and scripts that shouldn't have been made based on the fact that they had that stamp of approval of an Academy Award winner. And the good news is I got to learn the real process of filmmaking - directing, storyboarding, writing.
I don't want to be disrespectful to people who are incredible at their craft, but the truth is, if I didn't get paid for it, I wouldn't act. The best-paying jobs are usually the worst films. You're a very small cog in a big machine.
I love films that show people in a way that's so real it's almost unsettling, and that's what really inspires me because I write about people. I write about people that I know, so I want to portray them and portray myself in a way that is unapologetic.
I have not been a follower of how many millions my films made or did not make.
I got interested in astronomy at the age of 8 because I was looking at an atlas of the planets in my parents' apartment in Arlington, where I grew up. I got a telescope at age 10, which is pretty normal, and by the time I was in eighth grade, I had already seen a lot of cheesy sci-fi films.
I think films about men are often about characters who don't want to express their feelings. You're supposed to kind of admire them for not expressing their feelings. And I feel that's a bit dull. Women's stories often have stronger emotional content, which I enjoy doing. What I really love doing is mixing that with humor.
My purpose is to make films that will help people to live, even if they sometimes cause unhappiness.
I like how steady the work in television is. Films, they're hard to come by. They're elusive. I've done a couple, independently financed. You do them, and maybe a few people will see them.
I'm more critical of the films I make than anyone else.
There were many, many other 'Django' films following mine, with other actors and directors, but there is only one 'Django.'
I'm not prejudiced about what type of movies I'm in, what form they take or whether they're studio or independent. I just want to make films that are going to be good.
I've never done a movie that's shot more than 40 days because I just don't do those kinds of films.
I will make myself sick on films, just because you want everything to be right. I can't sleep if something hasn't been done or is out of place.
In 10 months, I was replaced from three films. That's when I realised I need to take my work seriously. It's a blessing I didn't get things easy. If I had, I wouldn't realise the value of success.
I normally stay away from horror films; I tend to do light and happy roles.
Not all films are going to go down in history.
I haven't done many films. But with every movie, I try to showcase a different side of me through a character.
After I did 'Brooklyn,' I did about five or six violent films in one way or another, and not always with me being the bad guy, but something violent about it to keep the street cred up, really.
I never sought to play monsters in films.
I generally like very visually striking films. I love a lot of Stanley Kubrick's films. I would have to say 'Dr. Strangelove', which of course has got resonance in 'Watchmen'. It's a favorite movie of mine.
