A Quote by Christopher Lloyd
'Cuckoo's Nest' was my first film, and I had wanted to do film for some time, but somehow I had not clicked. I would go in for interviews or readings, and I never had the sense that I was anywhere near what they were looking for.
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I naively thought I was making a low-budget movie. But, when the film came out, the Daily Variety reviewer at that time who was named Art Murphy described it as an exploitation film. I had never heard that term before. Roger never used it. So that's how I learned that I had made an exploitation film.
Film is more of a dream when you're younger. I found it almost impossible to see how you would get into the industry having no connections, nobody in the family being anywhere near it and never meeting anybody that had been on a set.
They had battled and bloodied one another, they had kept secrets, broken hearts, lied, betrayed, exiled, they had walked away, said goodbye and sworn it was forever, and somehow, every time, they had mended, they had forgiven, they had survived. Some mistakes could never be fixed - some, but not all. Some people can't be driven away, no matter how hard you try. Some friendships won't break.
When I was younger, I definitely thought musical theater was sort of more pure than film. I used to say I'd never go to film because we had to get it right the first time in musical theater. But then, of course, I started doing film and realized I loved it. Keep in mind that I was 8 years old when I said that.
If I had not made a film like 'Vaanaprastham,' I would not have been able to go to Cannes or any other festival. I would not have had a chance to act as a Kathakali artiste. I would not have had a chance to be with some of the greatest Kathakali artistes. I consider all this my good fortune.
When I started acting, there were parts in English that I thought I just had to try it out and go to another country. I did a film in Ireland. It was my first film abroad.
'The Quiet Ones' was my first film, let alone my first horror film, and I had so much fun. I had such a laugh, every single day. I look like such a feral child in it.
I met Michael Snow and Stan Brakhage the second day after I arrived, you know. I had never seen or heard of Brakhage. For me, it was a revolution, because I was well educated in film, but American-style experimental film was known to me in the abstract, and I had seen practically nothing. I had seen a film then that Noël Burch had found and was distributing called Echoes of Silence. It was a beautiful film, three hours long. It goes forever and it was in black and white, very grainy, and I saw that film and I thought...it was not New Wave. It was really a new concept of cinema.
Of course I had written a film about Elizabeth I, and I loved the Tudor period, and I think at the time Working Title and I had debated on whether to do Elizabeth I or Henry VIII. I'd always wanted to do Henry VIII. Like Elizabeth, I'd had this feeling that it had never properly been addressed.
We made 'Mickey and the Bear' with barely any money with a first-time director, a first-time director of photography, and a crew who had just graduated from NYU film school. We were all very much in this together for the first time. There's no famous actor or big explosions. It's not a Marvel movie. I thought nobody was going to see this film.
I remember when we were at Sundance, we were in Robert Redford's screening room, and I had never seen the film look so beautiful or sound so great. It was really big and really powerful, and I had a sense of accomplishment in finishing a project like this.
"Bruce" was an Eddie Murphy film, so there was a whole different vibe, working on that film, as opposed to working on a [Adam] Sandler film, which I'd done a few of. First of all, there were tons of kids running around. I'm surprised I ever had a kid after doing that film.
I often wonder when I make a film - I'm thinking of making a film of the Buddha - and I often wonder: If Buddha had all the elements that are given to a director - if he had music, if he had visuals, if he had a video camera - would we get Buddhism better?
The think that we hung the film version all on was 'Hedwig' on tour. On stage, it's one theatre, one show. It just seemed natural to change it. In the film, we were able to go to flashback rather than have her talk to the audience. And we had the play to practice and to see where we had made mistakes.
I wasn't close to my father, but I wanted to be all my life. He had a funny sense of humor, and he laughed all the time - good and loud, like I do. He was a gay Irish gentleman and very good-looking. And he wanted to be close to me, too, but we never had much time together.
Things may not go to plan, but the unexpected throws up experiences and opportunities you had never dreamed of. I didn't get into Oxford the first time. I was absolutely heartbroken. Instead of going anywhere else I took a year out and reapplied. I wish I'd had some kind of framework for that year out, instead I worked in a Virgin Megastore. But looking back it taught me a lot, and meant my university experience was different, not worse. In the end, your grades aren't as important as the people you meet, and you can meet them anywhere.
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