You've never seen death? Look in the mirror every day and you will see it like bees working in a glass hive.
I'm only interested in being a good actor and in being remembered for my best films, not for the way I look. But it seems inevitable in this line of work that I have to care about the way I look without getting obsessed about it.
I'd like to believe that the people that have supported me in my work or identified with me in films, the people that feel they know me, they do and they don't have misconceptions - they understand. I believe that.
One might have thought that the most significant change in the film industry that would come about with a transition from the communist economy to capitalism would fundamentally concern the sources of funding.
I did some writing and bought a book, and have been working on that as a film to act and direct in.
Many French directors, having now realised there was no more real criticism, that the standards of the past have gone, are very offended about the quality of film criticism.
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.
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.
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.
The film industry is about saying 'no' to people, and inherently you cannot take 'no' for an answer.
A lot of the films I've made probably could have worked just as well 50 years ago, and that's just because I have a lot of old-fashion values.
I took three years off. I differentiated myself from the industry. Found my identity - sort of... I haven't graduated yet. I'm not legitimately educated yet, but maybe one day.
A woman can be very beautiful and an ideal model and she will photograph incredibly well, but she'll appear in film and it won't work. What works is some fusion of physical beauty with some mental field or whatever you call it. I don't know.
I've worked for 27 years nonstop in theater and films. That's a lot of work.
I wouldn't say anything I ever did in film would be something I'd use the word proud about. I've done better work in the theater.
I think the situation in Toronto is such that there are funding organizations which make it easy for a film to raise more money than it needs and very often that works against a film.
I don't think any movie or any book or any work of art can solve the stalemate in the Middle East today. But it's certainly worth a try.
I did a film very quickly, and then a lot of work for television, and then I did stage work.
It's a poor sort of memory that only works backwards.
The difficulty of writing a good theatre play set in new reality was even greater given that the level of similitude to life that is allowed in a film would not work on the stage.
Kenya doesn't have much of an infrastructure for hosting a film of this scale. Our producer decided that for the film to really work it had to be in Kenya.
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.
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.
In my earlier films, it felt like I was putting in everything I had learned. But with "Drunken Angel" I suddenly felt sort of liberated. It felt like I got bolder.
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.