Independent films are really one of the greatest resources these days to actually find unfiltered truth.
I would never make an artwork that I wouldn't want to make forever. Wouldn't you want to make Trash Humpers [Korine's 2009 film] forever?
I'd been a fanatic of movies since I was a wee lad, so I got into the films before I got into the comics.
X-Men films have always been big, and necessarily so, because of the stories they have to tell.
You know, honestly, acting in film is remarkably independent. You're doing your thing and someone else is doing their thing.
I'm very happy to be involved with great filmmakers.
Truthfully, my films don't get funded, they get adopted - and are made thanks to the generosity of others.
The films I find boring are the ones that have no space for the audience's misconceptions.
That's what I love about film scoring. Every situation is new. Every show is a new adventure.
As a filmmaker, I've had films that over-achieved and I've had films that under-achieved. You always go in trying to do your very best.
Some films go so well, and some films are disappointing. It's the beauty of the craft. You get it right, and you get it wrong. You have tremendous highs, and you have tremendous lows. Hopefully, you learn from them and become better, as you go along.
Any film is a collaborative process, you've got thousands and thousands of people working on it.
Pretty much all films I've seen that depict the life of Christ end with the Crucifixion, almost like the filmmakers don't know what to do after.
But it's a strange thing when people judge you because you're not doing some big Hollywood film. Are you suggesting I should be in The Dukes of Hazzard? I mean, hello?
The stage is suspension of disbelief. Film is a literal medium.
How can I make a movie about the violence of the police if the police aren't going to let me film it?
As a filmmaker, I make the films that I love, that are in my heart. That's what I care about.
The hardest stories we tell are always about ourselves. How do you explain that you have been missing your mother for 20 years? I don't know how to explain that to you. I wasn't even sure I wanted to film that, because I don't know how I felt about it. I didn't want to put her through it, and I frankly wasn't ready. Because since I was 16, I just had created my own life for myself, you know? I left when I was 12. I'm 32. And I have gotten to know my mother more through editing her and looking and watching and editing her footage, you know.
I sit every once in a while and I think about plays and films I can do with William Petersen into our eighties. He's the most incredible scene partner I've ever had.
I got paid 20 grand for my first film. And that's the lowest I ever got paid.
There's not much of a difference shooting something for TV and shooting something for film; the difference is film is in a cinema and TV is in your home.
You really have to keep people interested, at all times, until the punch comes. You can do that with a film that lasts 90 to 100 minutes. That's very difficult to do at 160 minutes.
With a director it's all about the work; I'd work with a great director over - you know, I'm not the kind of actor who that doesn't go, 'I want to play this role.' It's more like, 'I want to work with this director,' regardless of what the role is because if it's a good director, you'll probably find a good role because it's a decent film. But a mediocre director will always make a mediocre movie.
We didn't set out to make some polemic about life in the digital age, I can only react emotionally to story ideas. You hear an idea and you go, 'That's cool. I can see spending a few years of my life working on that.' As a filmmaker, you approach it like, 'OK. They're going to give you all this money to make this movie. It's like an electric train set you get to play with.'
Good films demand to be looked at several times in order to be observed completely.
