Right now my career is totally schizophrenic, because when an American production like Hitchcock Presents asks to see my work I would never dream of showing them my independent films.
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.
Now, after the communist take-over in 1948, the amount of feature films produced dwindled to three a year, while the school was, you know, every year another three, four, five students.
In fact, it is amazing how much European films - Italian, French, German and English - have recovered a certain territory of the audience in their countries over the last few years.
There's something about an American soldier you can't explain. They're so grateful for anything, even a film actress coming to see them.
In Europe, there is no television filmmaking legislation that could assist film production because private broadcasters are not interested in supporting Polish film.
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'd rather do theater and British films than move to LA in hopes of getting small roles in American films.
A market is never saturated with a good product, but it is very quickly saturated with a bad one.
And, not only in Budapest. I worked very closely with a very powerful government organization, which shall remain unidentified, to develop the mass marketed version of the Cube.
I really wanted the film to be shown in the US because Cuba, for a huge section of the American public, has been eradicated from view.
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.
So I am getting a little bored with defining one type of film as American and the other European or from somewhere else because the division is no longer true.
What is generally referred to as American-style films are, in fact, studio productions.
When you look at golf films before us they're all - garbage or satire. A lot of sports films tend to vilify the opposition. Where the opposition becomes this big angry monster, so big you can't beat him.
The adrenaline of a live performance is unlike anything in film or theater. I can see why it's so addictive.
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.
The thing is, we're not extravagant people. It's just unbelievable the amounts of money we make. But we don't spend it. It's too scary to spend it.
Any work of art that can be understood is the product of journalism.
Marketing is too important to be left to the marketing department.
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.
Even better, there were established two separate committees deciding on state film funding.
A monoculture is not only Hollywood, but Americans trying to export democracy.
The film industry is about saying 'no' to people, and inherently you cannot take 'no' for an answer.
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.