I am disabled, so I can't travel, and I have not been to any development meetings, but Gary and the others affiliated with the film keep me updated on everything.
It would be great to make a movie that had the style of a great '30's film.
Mr. Smith Goes to Washington is one of the greatest films of all time.
It's very easy to get caught up in - there's a hype going on now that I haven't seen in years, and it's actually more about press than it is about an actor's work or what films they've been in.
I don't turn my nose up at anything. If it's a great part, it's a great part. It's not like, "I don't make studio films; I work for David Lynch and maybe a few American Playhouse directors, but that's it" - I'd love to do a box-office hit.
I've always loved film more than theater, and film may be more closely related to making a record because you have that ability to go in and do your work and have no judgment around it, and feel honest. Then, much later, it's presented to people. But in theater, people come backstage after a performance and you're about to do the same play again the next night, and people say, "Well, I didn't really believe that emotion" or whatever. It's really hard for me, I like to be closed up and just do the work.
It would be great to make a movie that had the style of a great '30s film or a movie of David's Lynch or some other director I love that could also make money, because that would say to the corporation, "Yes, you can make money and still do art." But it's tricky.
What about good small roles for women? I've told my agent, if there are two great scenes in a film, I don't care, if it's something with that great edge to it.
I cry at films and TV and even adverts.
Id love to work in the States; Id love to work anywhere where you get a good script and a good part to play. But I do love British film as well.
If I have to shoot on digital, I will not make the film.
A film that is bleached tends to have a more realistic quality.
I had an almost fetishistic attraction to film technology.
I can't tell you why I choose stuff, it's really something I don't analyse. The only thing I can say is that a film has to demand to be made, I don't have a plan of what films I'm going to make. The only thing that I know now is that I'm not too crazy about doing things again that I've been into before.
When I show a film at a festival, I am showing myself. Everything is at stake for me.
When I was in film school, it was said that all good films were characterised by some form of humour.
The film business was a great lesson in business combat and what it takes to survive.
There is an incredible film, 42. It's the incredible story of Jackie Robinson. I have extolled the virtues of this movie to everyone I meet. I've given quotes to everyone I talk to.
The whole film business was built on immigrants: Billy Wilder and Michael Curtiz and all these hefty lads.
The worst thing that could happen to a filmmaker is growing up wanting to be a filmmaker.
I am here to act only in films with good script.
It's funny, 90 percent of what I've done has been television, and I never really wanted to do it that much. I was really interested in film and theater. What's ironic is that when I started doing television, I did a bunch of amazing shows all in a row, starting with The Corner.
A very odd thing happened to my career when I got The Wire. My career was pretty much a steady climb; I didn't really flatline much. When I did The Wire, that's when I thought all the doors would open, but that's when things flatlined. I had a really hard time just getting seen for film, which was the next step.
I think it's important to do smaller films because I think that's where a lot of new things are happening.
I did very much enjoy being part of an independent film. It was just the energy.
