Every actor has to make terrible films from time to time, but the trick is never to be terrible in them.
I have always been so interested in film as a medium.
I want to be an all round entertainer, I want to act, make films, make albums, do whatever I can.
I always feel I could be like Toni Collette, going between big studio things and indie films. That would be feasible.
Sometimes I criticize movies. It's not fun to watch a movie with me, because I'll go, "That was a really bad shot." My mom's like, "Shut up, Chloe, watch the film!"
The big studio era is from the coming of sound until 1950, until I came in ... I came in at a crux in film, which was the end of the studio era and the rise of filmmaking.
And doing a film in that period, and having to really celebrate what they wore back then, how they sat and how they spoke. You know, what the etiquette was back then for a lady. All of those things are like putting on a wig and transforming yourself, which I love.
Connection is what one is after in probably most media, but certainly in film, which is an immersive medium.
John Barry was the first film composer I was aware of. As a teenager I owned several of his Bond soundtracks.
I'd made these experimental films but I thought the major chore of a filmmaker was to relate to actors.
There's a lot of Latinos right now, a lot of filmmakers and writers that are Latin too.
Though I am still very vulnerable to audiences—and it happens all the time - where for some reason the energy doesn’t connect and, since the film is very personal, obviously I am made to feel very vulnerable by that.
It has nothing to do with commercial success. You cannot calculate in your head how to put the mosaic together to make a commercial film: that's out of the question.
I never pursued Hollywood banging my drum, because I was never in a film big enough to do that
I love watching people listen. And on film often some of the best moments if you think about favorite moments on film, often the person isn't even talking.
If there's ever a problem, I film it and it's no longer a problem. It's a film.
Lola Montes is, in my unhumble opinion, the greatest film of all time, and I am willing to stake my critical reputation, such as it is, on this one proposition above all others.
I love doing interviews that are about work that I do, films that I make. I am not very interested in the rest. I think I have always been quite reserved and a bit frightened of that whole thing.
The picture's over. Now I have to go and put it on film.
I always wanted to be a film composer. So very early on I started collecting soundtracks and paying attention to how movie music works. Actually I'd like to have the opportunity to conduct for the rest of my life.
All my films have always been released in the autumn, maybe because they're more melancholy to people.
You learn real early to make a film and then duck, and basically that's how I go about it.
Well, visual language is another boring discussion about the nature of film.
So I used formal techniques to make the film more perceptive emotionally.
War is chaotic and when you start having a larger scale film and you have a lot of safety protocols and choreography, I would imagine it becomes more difficult.
