Everything is entertainment; criticism is now entertainment and it seems that the French directors have woken up one day and suddenly realised that they were not backed up any more.
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.
People need to realise what real happiness and success is, because success as an actor is fleeting. You can be up there one day and gone the next.
I've been criticized for not having perspective in the past and I thought that of myself many times but not there.
The culture of independent film criticism has totally gone down the drain and this seems to come with the territory of the consumer age that we are now living in.
Well, I certainly was exposed to and learned to appreciate the work of great directors early on. As a kid, my mother used to take me to see really interesting arty films in Los Angeles.
Having gone through all of this, I feel in some ways calmer now. It's strange, but sad. I think I'll always be sad.
Is there some principal of nature which states that we never know the quality of what we have until it is gone?
I've just been very, very lucky with the film having been introduced in the right way.
Our souls may lose their peace and even disturb other people's, if we are always criticizing trivial actions - which often are not real defects at all, but we construe them wrongly through our ignorance of their motives.
Well, I think I've made 44 films and only like four times I've played real characters I'm just drawn to people who have a pioneer spirit, this extraordinary energy and commitment to their cause.
By the first week of shooting, you know exactly where your film is heading based on the psychology of your director.
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.
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 don't believe in having body doubles for a film.
The only real voyage of discovery consists not in seeking new landscapes but in having new eyes.
I began taking liberties a long time ago; now it is standard practice for most directors to ignore the rules.
I start with actors that I know personally or I know their work, and there are things about their work or their presence or their own personality that make a character, that exaggerates some qualities and suppresses other qualities. It's always a real collaboration for me.
The real voyage of discovery consists not in seeking new landscapes, but in having new eyes.
Normally as a director, you do look at other films and things that are relevant. But with this film, it became impossible because I became so aware of the camera placement.
I was thinking on the plane yesterday how pathetic it is to be dreading the read-through after 25 films and 18 years of acting. I mean real terror.
Films made in the spirit of the past continued to be made.
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.
The biggest problem with the independent film sector in Toronto is that they find themselves having to make that budget show on screen.
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.