If you're making a film, the one thing I've learned is you have to pick somebody really well-known to make it relevant.
All my films have found distribution and prestige in the Japanese market, so I actually feel my films are very well received and seldom misunderstood.
A lot of my friends aren't working, especially since fewer films are being made now and there's more competition.
I'm not sure if it's fair to call it a "fairy tale," but I really loved Mulan, the Disney film. It was my favorite. I guess it's not really a fairy tale, but you do get Eddie Murphy as a dragon.
Modelling, fashion and film have all encouraged me to learn more about issues and to feel empowered enough to do something about them.
If you are going to remake a film, you may as well remake a classic.
That's one of the benefits of working on big budget films. You work with people who have a lot of experience and you get to learn a lot.
Film is such a bizarre vehicle for acting. It's such a bizarre experience. I don't think you ever really get familiar with it. If you do get familiar with it, you're probably not that good anymore.
I've made many films and only a few times I've played real people.
I really feel that a big part of my job - besides getting the money - is to see to it that Woody [Allen] has what he needs to make the film that he has envisioned.
I'm not only my films, but I'm pretty much my films.
We were both [ with Russel Crowe] hand-plucked to do [The Quick and the Death]. He had done Romper Stomper and I had done Gilbert Grape and so we were hand- plucked to do this big budget film. So we were both very bright-eyed and bushy-tailed.
I'd love to do a film like 'Chicago.' Something musical because I've obviously come from that background.
I love directing scenes that I'm not in because suddenly I really feel like a filmmaker which is a different thing.
I only see things that I shouldn't have done when I watch my film again.
I've been very blessed to work in some films that I'm very proud of.
In silent films, quite complex plots are built around action, setting, and the actors gestures and facial expressions, with a very few storyboards to nail down specific plot points.
When a certain show or film or celebrity captures the imagination of the masses that has a good deal to say about us, I think, and what is happening in our collective psyche.
It suits me to be in a series that takes ages to film.
I've been a documentary photographer for much longer than I have been a filmmaker.
Howard Hawks said he'd like to put me in a film with Cary Grant or Humphrey Bogart. I thought, "Cary Grant-terrific! Humphrey Bogart-yucch."
For me as a filmmaker, I do the projects I'm really excited about.
In terms of acting, we go through phases of being really inspired by film and television and actors and works that we've read.
I wasn't that familiar with silent films. I didn't know, for example, how hugely popular silent films were in the 1920s, how people would go to the movies several times a week.
I always found Louise Brooks interesting. She was an icon of the silent - film era, and I knew she'd grown up in Kansas, and that she was smart and rebellious and sharp - tongued.
