For me, it's hard to keep up with trends. I just go for the roles and movies that I feel I could add value to, or contribute to, that I feel I could portray.
It costs a lot of money to release a movie. What you'd call art-house movies - movies that don't have big stars or big budgets - they're very hard for distributors to get behind 'em and take chances.
I think to be a movie critic is troubling from one major respect. If you are forced to watch ten movies a week, it's really only something you can do for a few years. After a while, it's a bit too much.
I wanted to write and direct movies and not be forced to adapt them from a bestselling book.
I didn't get a formal introduction to horror until right about the age of 12, when my uncle showed me 'Twilight Zone: The Movie.' When you're 12 years old, and you see that - oh, God. I devoured as many horror movies and novels as possible.
I was obsessed with movies, and it ended up being the tool with which I could make friends. Because I was too painfully shy in other circumstances, I would say, 'Hey, do you want to make a movie?' And that's how I made friends, and it was also my escape.
I grew up on the Bond movies. The first one I saw was 'Diamonds Are Forever,' when I was a kid. I just loved them to pieces.
If I have a male protagonist, it's a studio movie, and if it's a female protagonist, it's an indie movie. That's just how it is. It's not about the studios. It's about America and who goes to see movies. Women are interested in men and women, and men aren't interested in the woman's story. They just aren't.
No matter how many times you've seen the movies and the TV shows that have a protagonist leaping in the path of a bullet, physics forbids such sacrifice. Because of a bullet's radical speed, you can't jump in front of it, but you could get in its way. It's not as dramatic, but it does save lives.
I used to look at horror movies as being really real and it would totally freak me out and give me nightmares. Now I watch and think, 'whoa how'd they do that?'
I hope this doesn't sound pretentious, but I very often like the way Europeans make movies. I think sometimes that don't they care about having to clean certain things.
The truth is I made a few good movies in the '50s, then went into freefall.
I hate watching myself on screen! I absolutely hate it, it's so hard to watch. I can see myself in magazines, but watching on TV or movies is like, 'Ugh.'
I'm so interested in taking tropes from other movies and putting them on something where it doesn't belong.
What really matters is your movies and how good a person you are. Otherwise, tabloids and news channels writing about you only builds your curiosity and stardom and propels you to reach wider places.
Because I grew up on 'Star Wars', that was the best example of creating a full and rich world to me as a writer. When I was watching those movies as a kid, I wanted to know more about every damn character in that universe. There was always a hint that there was a story there that you just weren't getting to see.
I was in 'Cliffhanger' years ago, so I'm a massive fan of the big event movies - the good ones - but there's a lot of crap that's made in between the good ones. It's just the superhuman films that I can't get my head around. I guess if you're a fan of them, then you love them.
And if real life was like the movies, I should have lived happily ever after.
Arnaud Desplechin invented me as an actor. I never imagined I'd be acting in movies.
Obviously, movies and music videos are different because they're different lengths, and in a movie, you have more time to explore an idea. But I feel like they're all the same, really.
I was inspired by all of it. 'The Avengers,' 'Harry Palmer,' 'The Prisoner,' 'The Man from UNCLE,' 'In Like Flint.' Of course, there's a huge shadow of Bond - Bond is the monolith of spy movies - but it's not just about Bond; there were a lot of other things that influenced me.
If you can market smut and toilet paper, you can market movies.
Some movies get rushed out right after you make them and I'm not always happy with that.
You know how in most teenage movies the girl meets the boy, they kiss, they have some type of fallout, then there's an awkward sex scene, and then they're together forever? And they say the perfect things the whole way? That doesn't happen in real life.
I've seen 3-D movies where it seems a little crude or too in-your-face.
We have a very wide range of content, but the brand-newest movies, what's happening with those is a $30 pay-per-view option - not from Netflix but from DirecTV and others - of movies that are in the theater.
I think these movies are definitely comedies. It's quite difficult to take a superhero movie seriously because everything is heightened. A kid being bitten by a radioactive spider and getting superpowers is kind of ridiculous.
For true downtime, I enjoy going for light runs, having drinks with friends and going to the movies with my husband.
Event cinema is what it is, and I understand why it's successful. It started with things like 'Jaws,' which are extraordinary movies. But what we've lost are great character films which are beautifully directed and had great movie stars in them. Films that were about something rather than about spectacle.
I'm not really a pitcher; I just play one in the movies.
I began to feel that the drama of the truth that is in the moment and in the past is richer and more interesting than the drama of Hollywood movies. So I began looking at documentary films.
It's hard to really get that excited about movies. Think about it like this: how many good comedy movies come out a year? Maybe one or two? And then, in those movies, what are the chances that there's a character that I'm the best fit to play? It's really small!
There will always be a slight difference between the reel and the real. Even my family might know 99 per cent about me, but there will be this one per cent about me that nobody will ever know. Being in this profession, I am fine with biopics or movies inspired by real-life-characters.
I saw 'A Clockwork Orange' when I was 11. When you watch 'Clockwork Orange' at 11, it either totally scares you from watching movies, or you want to become a filmmaker. I was the latter.
Before I'd written movies, I never could do big set-piece scenes with a lot of different speakers - when you've got twelve people around a dinner table talking at cross purposes. I had always been impressed by other people's ability to do that.
Slightly forgettable movies can sometimes make great musicals.
