I'd go from film to film and almost detach from one world and jump in another. I was living as these people and not having a self. I didn't know who I was. And things just get really dark.
I've been very fortunate to be able to jump around. I just did this really wonderful film called Map of the World. That was a real, amazing, dramatic story. Then I did a movie called Company Men, a little comedy about the Bay of Pigs.
It's wonderful to have the most important thing in the world there first thing in the morning. And especially in this business, where the opportunity to think everything is about you is there every day, now I really know that it isn't all about me.
Billy Wilder is really is a heavy influence on Bound. We felt that film noir was a genre where you could create a really contained story. We wanted to be on a set as much as we could to get the kind of style level we were looking for.
I suppose all of my films have a common theme. If I think about it, though, the only theme I can think of is really a question: Why can't people be happier together?
All of us have read the stories about young people in Hollywood and all the challenges they have to confront there, and I think that artistically, I really didn't understand the commercial side of the film business, so I went back to a purely artistic setting.
There will be no end to the troubles of states, or of humanity itself, till philosophers become kings in this world, or till those we now call kings and rulers really and truly become philosophers, and political power and philosophy thus come into the same hands.
I've really proved that on all surfaces, everywhere in the world, I can win the title. It's been incredible for me from beginning to end.
You go back to those films of the '40s and '50s and hear the dialogue, the way the people played off each other, the wordplay. I think we've really lost that in movies.
I am really not of the school of naturalism. I like style, and you can use more style in theater than in film roles. I love to sink my teeth into a part.
Making a film that's supposed to be fun to watch is really hard - that's the weird irony of it.
If you didn't have any conscious beings in the world, there really wouldn't be morality but with consciousness that you have it.
There are necessary evils. Money is an important thing in terms of representing freedom in our world. And now I have a daughter to think about. It's really the first time I've thought about the future and what it could be.
One of the reasons I did this, because I wasn't really looking for another science fiction film, was that my daughter can see it. She's 9 and it's really a good film for all ages.
A lot of times I watch TV and I watch film and there's so many things I'd love to talk about that I feel don't get the opportunity to be shown. Sometimes things become very stereotypical and one-sided, and I feel like it's such a colorful world.
This is one of the factors that also made me very much want to make this film, apart from the fact that I loved it. If the boy hadn't been Jewish and the man hadn't been Muslim, it wouldn't have made any difference to the film. I don't think it's relevant, really.
No. I mean those people really did something for designers I don't think department stores can, could or should do still today. Today the world is different so you have to make it differently. There's TV. There's a lot of things.
What I did was I completed the half-hour film, but before really showing it, I wrote two more sections for a potential feature film which I didn't think would really happen, but at least I had it in case.
I'm going to make a film where not one word is really important. I'm going to make it all action.
We really want to see how the idea of an intellectual action movie is received by the world.
Another thing that really excites me: I'd like to do multiple versions of the same film.
Kenya doesn't have much of an infrastructure for hosting a film of this scale. Our producer decided that for the film to really work it had to be in Kenya.
I didn't go to classes there, but ended up at the Cinematheque, and there it opened up even wider because there I saw a variety of films from all over the world.
Of course the French are making very credible movies and it is still one of the greatest nations in terms of world cinema but the real problem is the decay in film criticism.
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.