When you are making the one you are doing, you think it is the greatest film going. And then you do another one and it is a great film.
I loved the material when I first read it, and the experience of making the film was a great one. So when we came around to complete the trilogy, I just signed on board without even reading the scripts because the experience of the first film was so good.
The audience will have to focus on the visuals... But they had silent films before talkies arrived, and people went to see them.
All the characters in my films are fighting these problems, needing freedom, trying to find a way to cut themselves loose, but failing to rid themselves of conscience, a sense of sin, the whole bag of tricks.
Directing, I realize, on film is far more personal, you know. Cinema really is a director's medium. This is a very personal film.
Any book that helps a child to form a habit of reading, to make reading one of his deep and continuing needs, is good for him.
The Holy Ghost was working through me on this film, and I was just direction traffic.
I guess why the Ocean's films are hard for me is because on the one hand you have to make sure the performances are there, but on the other hand it's a film that demands, to my mind, a very layered and complex visual scheme. That takes a lot of time to figure out.
I did some writing and bought a book, and have been working on that as a film to act and direct in.
But, you know, when I choose a film I need to believe in it and believe I can do something special with it, and after a while that means not trying to judge or analyze why I should do it. You have to follow this intuition thing, which is a mystery to me.
They offered me that film before I did Frida and I said, no, I'm not capable of directing. Then after seeing Julie direct, I was inspired by it. She motivated me to do it, because we don't have role models as woman for directors.
I had more fun making Traffic than either of the Ocean's films.
They needed someone to write a script of The Great Gatsby very quickly for the movie they were making. I took this job so I'd be sure to have some dough to support my family.
If you wait until the right time to have a child you'll die childless, and I think film making is very much the same thing. You just have to take the plunge and just start shooting something even if it's bad.
What really helps a guy to become an action hero today is the directing of the movie. All those fast cuts.
I want the public to know that it will be an honor for me to meet them and spend a few special moments with all those who helped me through my filmed career.
I learned a lot last year about the current difficulties in independent film making. Money is promised one minute and gone the next. I was bitterly disappointed about Scheherazade. It was one of the best scripts I have ever read.
One movie is only one movie. I want to have a lifetime of making films.
Being horrible in a big film is a quicker nosedive than doing an obscure film and making no money.
I think setting a goal, getting a visual image of what it is you want. You've got to see what it is you want to achieve before you can pursue it.
I am not for the death penalty and so making this film did not change my point of view. I think it made me more aware of how ineffective it is.
One of the reasons I loved working with Tom is people feel they know who he is... I think working with an actor who the audience already has a relationship with actually helps you in a film like this.
I was very lucky and eventually showed the film, got some good responses, and some people helped to make the longer version of the film.
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.
I don't feel the need to direct. I tried to get other people to direct Dances, but they wouldn't do it. They all thought it was too long. One director wanted to cut the Civil War sequence. Another thought the white woman was very cliched.