Working in film, I'm sure you have insight into this, there's something great that only comes by way of interactions with others that a monastic life does not afford.
This is what I always tell my filmmakers-you have to do tons of research, because you don't know where the inspiration is going come from.
When you make these films, they become like your children. But at a certain point, they don’t belong to you anymore; they belong to the world.
The 1960s and 1970s were the real years for independent film, because they were really independent. Plus, there were hundreds of distributors. There were all these companies that basically did exploitation, but they were independent. Now, there are very few independent distributors.
There are no characters in the limited series Fargo that are derived from the characters in the film Fargo. It's hard to describe how remarkably true to the film the show is.
I'd love to make a second film, I'd love to make a third, and I'd love to have a long career doing this.
If you're reading a comic strip, you can read it at any speed you want. But with film and music, the audience has to take it the way the composer gives it.
The process always starts with detailed conversations with the director, followed by a spotting session (deciding where the music goes and doesn't go in the film, and what the music should be saying or not saying) in each scene. This is followed by sending the director demos of each cue for feedback.
I turn up in Los Angeles every now and then, so I can get some big money films in order to finance my smaller money films.
I'd say the film to avoid is a director's second film, particularly if his first film was a big success. The second film is where you've really needed to have learned something.
I got used to [ Lars Von Trier] doing the narration for 'Dogville' and 'Manderley.' And I said to him I do these narrations for you but you never put me in a film! So he called my bluff and put me in 'Melancholia' and I was thrilled about that.
Film has changed vastly in the time that I've been an actor, and it's, I think, very much for the better. I think there are just magnificent films now, and they're blossoming in the way that the novel did years ago.
There are certain people that when they ask you to do a film, you just say, "Where and when?"
I find myself more interested in producing. Not because I'm interested in the financial side of it, but just getting together the right elements to make a film, that side of production. I would not be good on the financial side. It would be a disaster from the beginning.
I'm not accustomed to doing films without seeing the script. There are certain people that are auteurs, and you accept them regardless of whether you see a script or not. But Spielberg is not an auteur.
I initially moved to Switzerland for work on an animated feature film, and have been here ever since.
I've never had any delusions about being a leading man, and it's not sour grapes to say that in the best films that I've always enjoyed, the cliched leading man type isn't a part of the picture.
I really, really love directing films.
I think I've made some pretty decent films in the '80s and '90s.
I wanted to just be a filmmaker, and I thought I wanted to do all the aspects, and it seemed like as a producer was the best way to do it, because I could have... You never have control on a movie, but you have as much control as you can. You can push it through, and you can hire the right people.
My point was that it's hard to make good films, but I'm not under any illusion that you do all the time.
Anybody can make a movie, if you have the will. The digital revolution has made it very inexpensive to make a film. Anybody who wants to can do it.
Whatever the reasons, 2008 it felt as though the combination of distribution models starting to tighten and the publishing and film and music industries having to revolutionize themselves to catch up, and understand how this is going to work in the new millennium has made it a lot easier to pursue multi-platform careers. It's much easier to hire one person who can do three or four different things than one specialist in that field.
I love film so much. I think theatre will definitely be there for me as well, but for now I'd like to do more films.
There's always been this strand of filmmaking in Britain which is like socialist neo-realism. That's always been there. I've never been part of that, really; I've been much closer to fantasy.
