I never wanted to do the same kind of movies over and over anyway, so my theory on it all is I'm just gonna try and dodge the label and keep doing what I am doing.
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.
Women must try to do things as men have tried. When they fail their failure must be but a challenge to others.
So it's kind of nervous to be in this situation, but at the same time you look at all those actors and the work that they've done, I've been in bigger films than all of them and still kept my integrity and still kept my respect.
I love European movies and I kind of grew up on European films.
A Merchant Ivory film, It's quite hard to finance this kind of film, so there's a sort of pressure to move through the day and get it done.
The difficulty with the present state of affairs is that there is no legislation on the sources of funding for the Polish film industry. There is no legislation concerning filmmaking. And, there is no legislation on television that would be beneficial to filmmaking.
But with the right kind of coaching and determination you can accomplish anything and the biggest accomplishment that I feel I got from the film was overcoming that fear.
Women, like men, should try to do the impossible. And when they fail, their failure should be a challenge to others.
So, no, I'm not trying to crack into Hollywood, although I'll make films there if they're good scripts.
Eventually, the state's funding covered only the stages leading to presenting a film project to potential funding bodies. It was enough to produce a script, indicate casting and put together a budget to present it all, but nothing beyond that.
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.
Even in high school I was very interested in history - why people do the things they do. As a kid I spent a lot of time trying to relate the past to the present.
I think our chances are not looking great today but the only way to fail for me is just not to try.
I've been really fortunate to be able to do different kinds of films in different scales, different genres, different kinds of roles, and that is important to me.
My present work concerns the problems connected with the theory of elementary particles, the theory of gravitation and cosmology and I shall be glad if I can manage to make some contribution to these important branches of science.
Don't waste time and energy trying to find the right words, worrying how to present it so that people will not judge you. Don't worry about embarrassment. Reveal yourself to yourself. Don't protect yourself from yourself.
I think everyone has a certain kind of formula in their life. When you deviate from that formula, you're going to fail big or you're gonna win big.
Perhaps it sounds ridiculous, but the best thing that young filmmakers should do is to get hold of a camera and some film and make a movie of any kind at all.
I think if you look at the themes that are presented in the film, some are inherently social, and I think that any film which deals with the family is dealing with the smallest social unit in our society - and in a sense it is a question of scope.
Nothing brings me more happiness than trying to help the most vulnerable people in society. It is a goal and an essential part of my life - a kind of destiny. Whoever is in distress can call on me. I will come running wherever they are.
I try to see my films just once. it's like a dream you've been through when it's been intense, and you just have to go through it once more just to make sure you've had it.
Ever tried. Ever failed. No matter. Try Again. Fail again. Fail better.
I try to learn from the past, but I plan for the future by focusing exclusively on the present. That's were the fun is.
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.