Zitat des Tages über Filme / Films:
There's still a lot of investors wondering what to invest in. And, of course, I think entertainment looks attractive when you read the few films that make these insane amounts of money. What they don't know is they don't always do that.
When you're a woman in your 40s, it's not the best time to do films, because there really aren't that many roles. Then you reach 50 and there are more roles again. Mother parts.
I'm honestly kind of scared of horror films. My girlfriend always tries to expose them to me. Being in a scary movie and seeing all the fake blood and stuff definitely takes away from the magic and kind of humanizes scary movies to me now, though.
I like to make films, but the only reason I do is because I'm a very bad musician.
When I watch films or tv that I've done, I get very restless and tend to not sit still.
Somewhere after you have few successful films, there is a fear of losing what you have got. It is very easy in the beginning, as you are a risk taker, have nothing to lose, and there is no perception about you.
The United States and Turkey are the only two countries that don't have some kind of subsidy for the Arts. The whole culture in society has made certain films more acceptable. I turned down so many films in the '60s and '70s.
Hopefully, I'll just get to be part of good films and work with good people, and that's how it will develop.
I've always loved films, always. I studied literature and I went to Columbia in New York and I went to Paris for part of one year and ended up staying there.
Unless it's something very clever like 'Memento,' most independent films have a very tough life out there.
One of my favorite films is 'Pretty Woman.'
I've watched films and even forgotten I'm in them.
It seems like the studios are either making giant blockbusters, or really super-small indies. And the mid-level films I grew up on, like 'Back to the Future' and all those John Hughes movies, the studios aren't doing. It's hard to get them on their feet.
When I first did theatre, I was always doing comedies; it was always my first love. But it wasn't what I was picked for at first, for films and TV.
I say have the night and give people the awards, but why do people want to watch people win awards? What are they getting out of it? I don't quite get it. Because they have awards all the time; there's awards for butchers, the best meat served, but they don't televise it. I don't know why they do it for films or TV programs.
We are continuing to collaborate with Disney on future films and other opportunities.
Except here it's more power, more energy, younger and also in Europe it's still not only entertainment. Theater or films are looked at as a moral institution. That's why maybe they're so poetic. Here it's clear entertainment.
And yet I think The White Cliffs of Dover one of my best films.
When I finish a film, I want to forget it. I never like to repeat myself. Maybe, when I am dead, they will find certain consistencies in the style of my films, but I never want one film to look like another.
My zombie films were all sort of satirical, with political messages. So I was doing them inexpensively and quietly off in left field somewhere.
I feel that I've been very fortunate in the films that I have gotten and that I've chosen to do.
The worst thing is that you used to be able to show interesting films on campuses. Those places are all gone.
It's not easy for Chinese actors to do foreign films, and it's not easy for foreign actors to do Chinese films.
The great mystery is why robots come off so well in science-fiction films when the human characters are often so astoundingly wooden.
When I won the Oscar, I made a point of actively going against that and doing adventure films like 'Con Air' and 'Gone in 60 Seconds,' not what would be expected.
If my films make one more person miserable, I'll feel I have done my job.
When I do short films, I try to do something completely out of my comfort zone, out of my element.
I'm in so many Charles Bronson films because no other actress will work with him.
I mean, in my - and I'm not trying to do spilled milk, but in those days it was a little - I think it was much tougher, because you got an image, and you were in a saloon. And it was tough to come out of a saloon and to get in films, and to maintain an image, you know.
I don't care to analyze acting. On the other hand there is a fascination because distributors are putting out British films. You get films here with great performances you'll never see again. Why compare. We should go after the businessmen.
When I talk to some of the younger filmmakers, they are so worried about their films that, eventually, this state of being worried reflects itself in and helps the final work. Whereas, with projects that are meticulously planned, you look at the end result and it is full of emptiness.
Horror films are very effective to me; they have an impact on me. I think that real life things scare me a lot more.
I like films, or some films, and would be intrigued to see my work on screen.
In my day, the films you got were about mature people, people with some kind of weight.
There were a lot of people dreaming about making films, and they would finance maybe 6 films a year. Because they were funded by the government, the films sort-of had to deal with serious social issues - and, as a result, nobody went to see those films.
I've done a few studio films in the last few years where I feel like I've done good work, and then I only end up in two scenes. That's been very disappointing.