I want to make good, fun films, not necessarily experimental ones.
Personally, I prefer contemporary films, but the market calls for more period choices, especially since China opened up a cinema market in Hong Kong. There's a lot of restriction for contemporary films simply because of subject matter.
I care about Bond and what happens to him. You cannot be connected with a character for this long and not have an interest. All the Bond films had their good points.
Although I could read before I went to school, and I won the school reading prize at five years old, my early children's stories came from the radio and watching films at a cinema on Saturday mornings in Australia. It wasn't until I was nine years old on a ship returning from Australia that I was introduced to children's books.
It's a whole other way of working when you work in films: You know exactly the arc of your character.
The whole thing about making films in an organic film on location is that it's not all about characters, relationships and themes, it's also about place and the poetry of place. It's about the spirit of what you find, the accidents of what you stumble across.
I've rewritten other films and watched my writing be mutilated, but luckily, it's been mutilated anonymously.
I definitely promise to always make films about issues that matter to me.
I want to make my own films from my own scripts based on stories I want to tell, but they take time to put together.
My films often have a spiritual dimension which comes from my Muslim background, and I'm happy to tackle that in cinema.
For me, it's just about keeping the standards up. We're a small country, so we have to punch above our weight. I'm not a great man for doing something just because it's Irish, and you never know what's going to work. But as long as we keep the standards up, people will continue to invest in films. It's as simple as that.
I love watching Marty Scorsese's films, but they always make me feel terrible about being a man.
Fame can be very dangerous, because you can start to enjoy that part of it. And that's not the good part of what I do for a living. The good part is the making of films. The unpleasant part is the fame part, if you're not careful.
There's something very... spiritual about fighting. It's physically very challenging. It's for killing people, after all, so it's taught me how to look at something head on. It's like living - confronting something. Everything for me came from films.
The perception that 'Indians can't make superhero films' needs to change. We can make superhero films in the budgets given to us.
I like to control my films from beginning to end, to write them the way I want.
Everyone's films have done well of late. So when your film doesn't do well, you ask yourself, 'Oh, did I make a wrong choice?' And I strongly feel that it's your choices that make a good career. The track record has to be good.
To answer the question, though: I didn't always want to direct. I just liked the idea of it. If a friend was making a short and needed someone who knew screen direction, I would jump in. It would be horrible, but it led to a short, then another, and another. It was like student films.
The nature of motion capture is only going to work for certain films. It's not going to put any other type of movies out of business.
I know that I am not owed the right to make movies. I know God has given me this privileged position, and I have to work dog-hard as an actor to make the films the best they can be.
I feel that if you want to make films, you have to be willing to make it without a fee. You get a deferment, I guess.
How did I end up in films with people like Keira Knightley... all these beautiful leading ladies and me - it's kind of shocking.
There are plenty of genre-crossover books, films, and games out there, but to do the job well, you have to do more than just smoosh a couple of 'in' concepts together, and hey presto, instant millions.
Whenever I work on any Yash Raj film, I feel that they believed in me, and that's why I have been able to be in films today. I had no connection with movies apart from watching them.
When I became a film-maker, all my favourite films, they weren't comedies.
Making films is hard. Awesome, but hard.
No doubt, the most important thing in my career was my time with Mr. Bergman, with whom I worked in so many films and also in so many stage productions, so it was a continuous working relationship and also a friendship, of course, that lasted for so many years.
I did four independent films during the break between 'Twilight' and 'New Moon.' I haven't even really had time to sit back and process it all. But when you do finally sit back and think about it, it's incredible.
I really didn't want to be boxed into becoming a certain kind of film-maker - becoming the Maori story film-maker because I had made those short films.
There are films that cost a lot of money that might be decent films. But if they don't perform in that first weekend or two, they're gone.
When people ask me if I am a feminist film maker, I reply I am a woman and I also make films.
I want to make more films in the heartland, the forgotten America.
I have made a lot of movies, but I don't see any point in talking about films I don't think are terribly good. I have been in a few. I don't know any actor that hasn't.
It's probably not an accident that the films that I care about happen to be about issues that matter to me, stories that I want to tell.
By the time I was 21, I knew what I wanted to do, and that was to direct films.
I never seek controversy or foresee it for my pictures. I take a personal stand, and perhaps because my films are on contemporary subjects, people do not share my point of view.
