For the film maker must come by his convention, as painters and writers and musicians have done before him.
I feel like I share a great relationship with my audience where they trust my judgment and choice of films and sense of comedy.
In film, it's up to the director to tell the story in whatever way he sees fit, and however you fit into that ultimate vision is where you fit in. So what you did on that stage, on that set, may not be what you ultimately see when you see the final product. And TV works so fast, it works so fast, it's just about product. The average TV show, one episode shoots eight, 10 days. That's it. You get three or four takes for a scene, and then it's over. But people do it for the money.
I see wonderful films by Bertolucci, Visconti, and Fellini.
I met Milos in 1967. I was working on a student film. And there is Milos Forman. So that's how I met Milos.
Working with David Cronenberg or Darren Aronofsky or even Steven Soderbergh isn't really like a typical Hollywood movie. These are true artists, and have a certain amount of freedom when they work, and they're more like independent filmmakers making their way through big studios. I still don't feel like I've been part of the stereotypical Hollywood system.
I have a preference for film just because of the familiarity. It's what I know, and I sort of have nostalgia for it.
That's what I love. I love thinking about the film, the project and committing myself as much as possible.
I love thinking about the film, the project and committing myself as much as possible.
I've directed independent film.
I like the film camera better because the film is still one hundred times better than any digital image at the moment. So, there are certain movies that you can't really do digitally.
I had never met Woody Allen before Melinda and Melinda. My agent knew the producer of the movie and he suggested that we would work well together and then we did. We had a great time on that film.
I should mention Vittorio Storaro, who was Bernardo Bertolucci's cinematographer. You watch those films and they are exceptional.
When we shot 'The Lord of the Rings,' we had special permission to film in wild areas of New Zealand that could be accessed only by helicopter. They would drop us off and we would work all day, and they'd pick us up and take us out again.
I like naturally occurring film grain, and what happens to film when it's under- and over-exposed.
In the film, I'm not very mobile, like in the space suit.
I went to see the film with a regular audience for the first time on Sunday, and was basically swamped.
You ought to have a perspective when you're making a film.
Whether youre making a million dollar film or a $100 million film there is never enough money, theres never enough time.
There always comes a moment where all the departments in a film need to work together. And if a director, his first assistant director, and cinematographer have a very clear vision, then everybody does work together.
A deeper truth the camera can see can be more surprising than even the director imagined it could be. That's a wonderful thing that grows and happens in films.
I wonder what it's like out there?
My interest in time emerged out of an engagement with the media that I was working with. Film and performance are temporal media. They rely on time. When I'm carrying out a performance, it matters, for example, how long I hold one particular gesture or posture. Seriality is very important too. Performance can be used to dilate time or to repeat time. And video, in turn, has its own time.
Most films made about the future acquiesce toward death, and I don't want to be told how to define my future.
I like the direct contact. I want a lot of people that only know me through the mass media to learn more about what I'm doing, and to know that I'm an independent filmmaker and I'm not part of the Hollywood system. I'm coming from where they started. I'm not coming from a family with a lot of money.
