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.
Very difficult to understand American audience, what they like, what they don't like. Some movie I like very much, it doesn't work. Some movie I don't like, it gets big box office. Very difficult.
I think a film set is a quite controlled environment and you feel like you can trust them and it is going to be a safe place to work, but I really don't think about it.
Now, there are so many movies, so many festivals, and so many awards going on, each judged with each other, like your work is worse than others and that's not fair. How can you tell what's best and what's worst from these awards? We're talking about art.
I crave working on those small independent movies because I love going to see those myself.
That's a great feeling to know that I'm going into a project that I have no idea what will become of that movie, but I really trust Ang Lee. And I really trusted Ron. It's just really nice to work with people that you feel that way about.
When I make an American movie it's going to come out all over the world-it doesn't happen the same way for an Italian film or a French film.
I think I have always tried to do the smaller films. I like to jump around and there is something really nice for acting in a smaller film. But I think now, Hollywood's movies certainly involve a younger generation for the most part and so... I love going back and forth.
Quentin Tarantino asked me to work with him but there is no way I am going to do that while Matthew Vaughn is working in film.
Women were real box office stars in the '40s, more so than men. People loved to see women's films. I think it was better then, except for the studio system.
You are always concerned about the makeup work, especially when you are going to do a character movie instead of an action movie.
Critics may read whatever they like into my films, but I don't make movies as deliberately as they think.
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.
It's funny that it all becomes about clothes. It's bizarre. You work your butt off and then you win an award and it's all about your dress. You can't get away from it.
And if you're a golfer and you watch a golf film and Matt Damon swing, and it's not great, then you're not going to believe in the golf story, you're not going to believe in the rest of the film. That's the whole movie, so if that swing looks like crap, the movie's crap.
I'm glad movies aren't going to please everybody, they can't. But what they have to be is recognisable. I don't equate myself with a master painter, but I think you can recognise my films.
In this age of consumerism film criticism all over the world - in America first but also in Europe - has become something that caters for the movie industry instead of being a counterbalance.
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.
Going through this musical experience really helped us to understand the core of the film.
Virtue has its own reward, but no sale at the box office.
I'm going to college. I don't care if it ruins my career. I'd rather be smart than a movie star.
There's no way I'm going to put this kid in the movies, because of the rejection. It's so hard as an adult, so why set her up to feel that bad as a child?
I want to do exactly what I want to do. I'd rather gamble on the box office than beg for a grant.
Movie directors, or should I say people who create things, are very greedy and they can never be satisfied... That's why they can keep on working. I've been able to work for so long because I think next time, I'll make something good.
When I was going for my graduate degree, I decided I was going to make a feature film as my thesis. That's what I was famous for-that I had my thesis film be a feature film, which was You're a Big Boy Now.