I wanted to try every style available to me - large productions, small productions, studio films, low-budget. You just can't sit around and wait for every big-budget film to come along.
It's a sin to have your films not to make money.
Truthfully, I'm proud of each of my films in a certain way.
I've produced a couple of films and really enjoyed starting it from the very beginning and seeing it all the way through to the end; that was very gratifying.
As a person, I am someone who wants to give my the best in every take. I wouldn't say it was easy for me to get into the industry because I come from a background where no one has been in films. But I do believe if you work hard, you will get noticed. Modeling gave me that courage to stand in front of the camera.
I've done some of my best work in films that fell right through the cracks, so I try to not make career moves but to build a body of work.
Films are a part of my being, they don't define me.
My agent in London says all New York films are wonderful if they're really New York films because they're like travelogues.
There's no one out there like Quentin Tarantino. His films have a signature look, and they never just stick to the same kind of story.
I tend not to be so attracted to films that force me into an intellectual place over an emotional one.
I want to do more films - not just comedies, because I really want to show my range.
When you have films like 'Bourne' that succeed, not only does it beget sequels, but it begets people taking chances.
I've been a horror fan pretty much in the sense that my sense of horror and my sense of humor were both equally kindled by films as a kid.
Audiences aren't fools - their judgement really is important. And the true heroes of films are the investors. They take the risk, after all.
I came out to Hollywood when I was just 18, and my dad, he was really into Hollywood and theater and art, and I guess growing up, he exposed me to a lot of culture, and I just started making Super-8 films in high school and decided I wanted to be a filmmaker.
I've been blissfully ignorant about the result of my films and don't get swayed by success or failure.
I see a lot of art; we see a lot of music, films at Sundance... that influences me and informs me more than theater just because I make a bigger effort to see other art forms.
As a writer, I think about films I work on in a traditional Hollywood kind of a way. I'm curious to see how it translates.
History tends to take the simplest possible view. As soon as you start to scratch the surface of any historical event, it starts to become more and more complicated, which is not the stuff of Hollywood films. Complications tend to break down the budget.
I started making little short films with friends, and then I decided I wanted to get into the school play in high school.
Not just art for art's sake, but I want to have films out there that will provoke authentic, holistic conversations about the human condition. And not provide the easy answers, but put it out there.
I was always realistic about the fact I wanted to be involved with big films.
I loved cowboy films and TV series, and I learned bits of English from them. My favorite was 'Laramie', with Robert Fuller and John Smith. I used to watch 'The Lone Ranger', which had been famous in Japan as well. I idolized these cowboys.
In 1956, the success of the Hammer films kick-started my career. That immediately gave me a name and a face to go with it. I will always be grateful to Hammer for that.
Telly and films has been my thing, not necessarily by choice, and if the right piece of theatre came along, I would jump at it.
Before we made films about gangsters, everything was about the royal families. They contain so much drama.
Live-action has always been my focus and my passion. I love voice-over, and I definitely could see myself doing some voice-over, as much as I could, and even if I ended up doing only that for the rest of my life, and I could be successful at it, that would be great. But I think my real dream is to do films and live-action films.
We as women have a voice and we are decision makers in what film to see. We always support our boyfriends and husbands by going to see the male dominated films, but we don't compel them to see films with female casts.
I like films that are gritty and hard-hitting and suspenseful. Thrillers, too.
You don't need a high concept to make a great film, of course. 'Withnail & I' is not - it's probably not much on paper, but it's one of the funniest films ever made.
I don't watch my films. I've seen 'em enough after cutting them and putting the music on. I don't ever want to see them again.
It's not simply that British films do well at the box office and generate revenue, it's that they provide a window to the world of what Britain and its culture is about.
The really simple approach to photography is a great balance to making the films.
Television is a lot of fun. It's faster-paced. The schedule is really desirable, I guess. But as far as films go, and I've only done a couple; film is like a definitive beginning, middle and end. You know your character's arch.
More and more people are seeing the films on computers - lousy sound, lousy picture - and they think they've seen the film, but they really haven't.
I like Soderbergh, Spielberg, Lucas. There's a lot of talented guys out there obviously, and if you're a fan of films, you have to look at that stuff and learn from them.