I felt from time to time that shooting live music is the most purely cinematic thing you can do. Ideally, the cinema is becoming one with the music. There is little artifice involved. There's no acting. I love it.
When you're working on a script, every word that's on the page, somebody has to read it. Make every word count in your stories.
Everything I've made - it doesn't mean they've all been good - but everything I've made so far, big or little, fiction or documentary, has been something that I've been really enthusiastic about.
I'm guided by my enthusiasm.
I also feel that the only thing more gratifying than working with someone who you've worked well with is working with someone new and coming up with something great.
If you're doing a music film, you've got to be singing about something.
I like finding a great shot and then just staying with it for a long time, not trying to pump things up with some kind of artificial energy by cutting.
Nothing beats a live performance. Nothing.
It's a funny thing with documentary films - you want them to feel as entertaining and as gripping as a fictional film. With a fictional film you want it to feel as realistic as a documentary film.
I only work with actors who take full responsibility for their characters.
I had very strong feelings, so the chance to make a film that deals in an imaginative way with stuff you care tremendously about is a real high. It's a really amazing thing to be able to do.
Music films are great, but they can never compete with a live performance. Live music is what it is. It's the whole point. You experience it in the moment.
It's such a rich experience when you enter into a subject from a documentary point of view. It's hard for fiction to compete with that.
I think music is just a wonderful ingredient that helps us understand a scene better. And certainly you can overuse music, and you can use the wrong music. I probably have been guilty of these things over time. But if you use music correctly as a friend of the theme, a friend of the narrative, ou can lend some terrific connective tissue to a film.
I didn't go to film school so my learning was done out in public and showed up on the screen.
As a kid, a little kid I loved going to the movies, and now I love making movies.
When Silence of the Lambs did well commercially it was more than anything. My partner Ed Saxon and I were just so relieved that finally we had made a movie that had made some money!
A trilogy is a pretty abstract notion. You can apply it to almost any three things.
Maybe that's where the new art comes in - to somehow have your eye on the marketplace and harness your art to come up with something you can be proud of creatively.
Extraordinary people are the Green Berets and the Navy Seals and the Olympic athletes - these are the ones who can face these extraordinary physical challenges and be triumphant.
I don't think it's sacrilegious to remake any movie, including a good or even great movie.
Documentaries - my God, there is so much going on in our country and in the world today that every time you open the newspaper or turn on the radio or watch the news on TV there is another documentary subject. We're getting the headlines for a second, shaped by corporate delivery most of the time, but what's really the story there?
I love doing fiction. I love doing performance films and I love doing documentaries that don't have music. I love to shoot and I love to shoot things I'm enthusiastic about.
If you're doing a music film, you've got to be singing about something. Or, you have to be singing in a vocabulary that has tremendous appeal or else people are not going to want to sit there for eighty or ninety minutes hearing this stuff.
I've never had a good game plan. At a certain point, making independent films became more and more appealing to me because I like freshness and originality.
