When people protest and are upset with a movie, it becomes a big hit. They hated Passion of The Christ, it worked out pretty well for the box office. So let's get that going.
So how critics will perceive your film or your work, or whether your movie is going to make $100 million at the box office, or whether you are going to be winning any awards - well, you have no control over that.
It really helps you to go through difficult situations by just thinking about it as being a big amount of work which you have to solve how to do. For example, I don't feel very inspired when I act, I just act. That's it.
That's probably when I get the most angry at American movies, when they just so cynically manipulate the audience without even trying to give a good story.
Most of the time it's the role. Sometimes it's the story and sometimes it just the paycheck. It's the little movies that come out as stories or the fact that I have work to go out, you know what I'm saying, you can only be out so long without work, you start getting antsy.
I really don't consider myself to be a conventional Hollywood star. I've never really been marketed by the big studios to do mass market box office films.
I want to try and work in different genres with different types of actors, on small movies and big movies.
I had too many big passions in life and it gets in the way of work. You can't concentrate properly on the one thing.
And I had a big opportunity with Richard Brooks, The Professionals, which is really a magnificent movie.
I didn't have any ambition to produce big mainstream popcorn movies.
Suddenly, the screens were dominated by American entertainment to the extent of something like 95 percent. As a result, audiences turned away from the kinds of films that we used to make.
I have no spy stories to tell, because I saw no spies. Nor did I understand, at that time, any opposition between American and Russian national interest.
And that's another reason to make this movie: We can put plays on film now, at a relatively small cost, and they will reach an audience they would never have reached otherwise.
Working gets in the way of living.
I like the idea of bringing cartoon characters to life... and although the Americans have already attempted this, their culture is not sufficiently humane to make it work.
And trust, yes, which is important, but that is what I aim towards. Now that is difficult for some people, and with that desire to get things as good as possible, I would say that I'm probably regarded as quite prickly to work with.
You know I could stop working as an actress and still be doing promotion on movies I did ten years ago. And I don't like to do the same thing forever.
People say it's a movie about boxing, but... I don't agree at all. I don't think it's a movie about boxing. Boxing is like a platform. It's just a stage where this is played out.
We can now have action movies with two stars where one might be African American and one might be Asian American. One of them doesn't have to be white, and the other one doesn't have to be the ethnic sidekick. We're way over that. And I think it's happening in society, too.
People always tell me, 'Don't work so much', but I can't help it. I feel like all the things I've done are important to get to this adult stage and now I'm getting all these adult offers, so it's working.
Now, all the movies are for teenagers. It's very difficult for an actress to find really deep, beautiful characters to play.
All my movies are difficult to classify because they are very eclectic in mixing genres.
Working with Julie Andrews is like getting hit over the head with a valentine.
I can only be so long without work before I start getting antsy.
Now my dad is with me, traveling with me and a big part of this whole thing is I like to mix it up a little bit, you know. Who gets to take their father on a private jet across the country and stay in first class hotels? So we're enjoying it, but I'd stop if it's not possible.