I do think it's possible for me to go back to the studio, and for a lot of women filmmakers to be going back into studio filmmaking with a different sense of their own agency, and a different sense of the respect that they can command. When you asked the question about whether women want to be making big studio movies, the answer is almost always yes. It's just, how do they want to be treated? What is that experience going to be? And if you know the experience is gonna be shitty going into it, I personally am at a place where I'm not willing to punish myself any longer.
I'd say working on television is much, much tougher than films. But television has a great connect with a live audience, which is a refreshing change for us actors.
Stage is the most exciting. Film is lovely, because it's like a family.
I saw a very good Hollywood film the other day. It was about Cole Porter.
There were some films I refused because the feminist aspect was a bit wonky.
The film industry is a cyclical business. Even musicals are coming back.
Everything I've seen becomes real once it becomes memory. The films I've seen are interchangeable with things that have really happened to me.
Films can't change the society, they can simply open the space for the discussion which can lead to social change and can start new forms of social activism. I feel formally that I've scratched the surface of something very important about the nature of nonfiction film, about what we're very rarely honest about: When you film anybody, they start performing.
Films are even stranger, for what we are seeing are not disguised people but photographs of disguised people, and yet we believe them while the film is being shown.
In the end of the film there is hope, ... There's beauty in ugliness. It's really important for us Latinos to acknowledge each other and not deny the reality, because our reality is fascinating.
I love doing fiction. I love doing performance films and I love doing documentaries that don't have music. I love to shoot and I love to shoot things I'm enthusiastic about.
Music films are great, but they can never compete with a live performance. Live music is what it is. It's the whole point. You experience it in the moment.
I don't have any sort of calculus in choosing film roles.
I don't know what to do with myself between films. I end up doing unhealthy things like shopping or drinking. I'm pretty schizophrenic about it.
An actor needs to be not remotely anywhere close to in control, and a filmmaker has to be totally in control.
To convey in the print the feeling you experienced when you exposed your film – to walk out of the darkroom and say: ‘This is it, the equivalent of what I saw and felt!’. That’s what it’s all about.
The filmmakers always have a great level of control.
Films take too long. There's too much BS, too much nonsense. If I want to do a play, I just call the theater, whether it's here, or in Paris or Mexico or Spain or London or whatever, and say, "I want to do this, are you interested?" They'll answer the next day. With a movie, it's all, "Oh, I see this film as blah blah blah." They don't know what you're talking about, they don't care.
I like the George Romero films, which were really great, social satire movies; really twisted.
The only time I use women in films is when they're naked or dead.
Every time I make a film, I feel it gives me the chance to learn something new.
I prefer to commit 100 per cent to a movie and make fewer films, because it takes over your life.
Sometimes you film in your hometown, sometimes you go halfway across the world.
How can you work in film and still see the overt racism that exists in film and not just be furious all the time?
Making a film that is in seven days of one week is not a new idea.
