An awful lot of filmmaking and playmaking is taken over by marketers and publicists, who set about to tell people what to think. And people feel safer that way. But it's not safe, and the whole wonderful thing that cinema and filmmakers can contribute is to go into the not-safe land of real life.
You can't do what you've been asked to do unless you do the best you can. And roughly speaking, the best you can do is to be very available as a character and actor to the people you're acting with. That's equally important, whether the camera's on the other person or on you.
There always comes a moment where all the departments in a film need to work together. And if a director, his first assistant director, and cinematographer have a very clear vision, then everybody does work together.
Shakespeare lets us see real people undergoing real processes, with real feelings
The society Shakespeare knew was heading for tremendous change, and he seems to have recognized that and written about it in a coded way. I understand those codes, I think
I was surprised when I was asked to play Miss Daisy and wondered if I could - only in part because she was Jewish but, also because she was a Southern woman who has hardly opened her mouth before she declares she's not prejudiced, and yet everything she does shows how totally prejudiced she is.
We will always want films ... that basically are centred on young people, because young people is the way we live on, we older people, insofar as we live on.
