Who says that big-budget films are safer than mid-range films? In terms of return on investment, I'd rather have 'Sling Blade' and 'Shine' than 'Volcano.'
I worked with some directors, and it was really collaborative, and I was sort of writing with them. I was giving so many pieces of myself to their movies, I thought, 'It's about time I use my own voice for me, and establish my own voice.' So I knew I wanted to make films.
Foreign revenues are tremendously important, but foreign audiences are dying for American movies, not for films they could make themselves.
In my films that I've directed, and my work in commercials and videos, I've rarely used handheld. It's just not something I'm drawn to, but I've seen it done very well.
I took a film course in grade ten that made me want to direct, and I've always been making short films and home videos with my friends, so it's definitely something I wanna pursue as well.
Everybody's making horror films and, to me, not especially well.
I started making my own short films as a way of being able to give myself something to do and to study my craft.
I can't always be making 'British films.' Why should we be making films about corsets and horses and girls learning to drive when Americans send over an event movie and make five or 10 million?
I think I'm drawn to people who dream big, and both films have that. In 'Street Fight, Cory Booker wants to become Mayor of Newark, and in 'Racing Dreams,' three kids want to become NASCAR drivers.
I have a hard time watching films and not thinking how I would play any part, whether it's a man or a woman.
I can cry at the drop of a hat. I've always found that easier than laughing in films.
My family was never cultural in that we never went to see plays, my mum wasn't very into films.
Violence has been a part of films since the beginning of time. It's been a form of entertainment.
Films are now made by accountants. They pick a pretty young female or male face out of the air and give them a part - not because they think that person is right for it or is ready for it, but because they think that person will make them money.
Sometimes it occurs to me that the job of a serious cultural critic mostly consists in telling the generality of people that their opinions - on films, on books, on all manner of widgets, gadgets and even the latest electronic fidgets - simply aren't up to scratch.
I'm no longer interested in being in big commercial films.
I have watched a number of Megastar Chiranjeevi garu's films after becoming an actress.
I'm very thankful to directors and filmmakers who consider me in their films, and I hope I'm able to do justice to their films.
I turned to historical films because they pass censors more easily.
A lot of people in the film industry are fatalists who think a worthwhile film will always achieve its destiny, and the films that aren't worthwhile won't. It's all sort of pre-determined, etc. And I don't think that's true at all.
I have refused money sometimes for a film. I have refused films when I felt that it was not for me. When it was just a job or just about making money, I said no. I wanted to make every film count, and when you are true to yourself, this gives you a certain integrity and a certain reputation.
I think I've done pretty well. I've had about 46, or 47 nominations from my movies, and my films have won about 12 awards, so I don't have any complaints.
I'd grown up loving English films. I was a huge Monty Python fanatic as a kid.
If you really want to see something scary, turn on the nightly news. To me, for people to say 'look at the films' is ludicrous. The world we live in needs to change.
Then in college, besides economics, I also majored in studio art and got involved in photography and making short films and acting. But I didn't know you could make a living that way.
Their films would probably be better if they'd seen a few more films, which runs counter to this idiotic theory that you run the risk of being influenced if you see too much.
So often, in my life, when you play a joke on another actor, you say, 'Hello? Steven Spielberg? It's for you.' What's it feel like? It's bizarre. He feels like he's a friend. He feels like he's some kid in the neighborhood who has a camera and makes films, now and then, and says, 'Would you come 'round and play?' It doesn't feel grand at all.
But, I love making independent films. I love it! You create a family, and you sweat, you bleed, you cry, you shout, you laugh and you hug. It's such an extraordinary experience, making independent films.
Put me in a costume, and I'm your man. I must have one of those faces which seems to suit period drama more than modern films and TV programmes. But I'm not complaining, I love going back in time. I feel quite lucky because nobody knows who I am. I can walk about and have ordinary conversations with people.
Indian films have this obsession with hygienic clean spaces, even though the country's not so clean. They're either shot in the studios or shot in London, in America, in Switzerland - clean places. Everywhere except India.
The majority of the time, we try to hire the best people that we can get just to make the best films, and I think that's something that Pure Flix has been known for the movies we produce on the budgets that we do... our production values have elevated this genre.
I have been as influenced by music and films as by books.
I think the perspective that small-town directors bring to films is very different.
I do films that I like. I have done comedy, romance, everything, and I always like to do it differently from the previous ones.
Theater has given me a different perspective on the way I approach films.
I have memories of films that nobody ever saw, that I was very proud of, and those are still great memories.
