A Quote by Christopher Lloyd
I turned down a film that was offered to me in the very early '80s, a Scorsese film. That probably wasn't a good career move.
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We have a wonderful film lined up early next year called 'Desi Magic.' It showcases me in a double role for the first time. This movie has offered me the most challenging role of my career so far. It's weird I chose to do my toughest film with my own production house.
It proved to be pretty impossible to get funds for a feature film in Finland. It's still small, but the film industry was miniscule at that point in the early '80s.
Martin Scorsese was being given an honorary doctorate, and one of the tutors asked if there was a student film he particularly liked. He mentioned our film. There was a dinner after the final show just for the tutors, but I was smuggled in to meet Scorsese over dessert.
I didn't watch a film after the 1960s. I have no idea who all were the good heroes, directors or producers in the '80s. The only film I watched after all those years was my own film.
I won an award for my debut film. However, my career went up and down after that but I kept getting work. I did whatever excited me and did not think which role or film will change my career.
For me, when I choose a script, I put my heart and soul into it, and that is exactly what I look for in a film. A good film is a good film. And if it's a bad film, irrespective of whether it's made 300 crores or 200 crores or any amount of money, it doesn't matter to me.
It is very, very, very difficult for an American actor who wants a film career to be open about his sexuality. And even more difficult for a woman if she's lesbian. It`s very distressing to me that that should be the case. The film industry is very old fashioned in California.
Fact is, I won popularity with my first film itself. Since I got acclaim very early in my career, people weren't that critical of me.
I was never serious about Bollywood films, but when I was offered a film like 'Shanghai,' I took it because it is a good film.
With 'Aurangzeb,' I just knew that the film wasn't going to work, though I think it was one of my most underrated performances. I did the film too early in my career, but I stand by it.
I did New York, I Love You which is a very personal film for me. My most personal film, but it's not like a film I've ever made. I would never do that film as a feature, for instance, because it's not very commercial of an idea.
'Miracle at St. Anna.' I was challenged by Spike Lee. When he offered me the film, he looked me square in the eye and said, 'You start this film off and you end this film. I don't want a dry eye in the theatre. Can you pull that off?' He was dead serious.
Miracle at St. Anna.' I was challenged by Spike Lee. When he offered me the film, he looked me square in the eye and said, 'You start this film off and you end this film. I don't want a dry eye in the theatre. Can you pull that off?' He was dead serious.
The biggest misconception about me is perhaps that I film all the time and film everything randomly. The truth is I film very little and always when something excites me and seems to mean something for the film.
Me and Kirby are very collaborative and it changes from film to film. The first project we worked on together, Derrida, we co-directed. The last film Outrage, I was the producer and he was the director. This film was much more of a collaboration - he is the director and I am the producer - but this is a film by both of us.
It's very important that a film that intends to play tricks on the audience... has to play fair with the audience. For me, any time you're going to have a reveal in the film, it's essential that it have been shown to the audience as much as possible. What that means is that some people are going to figure it out very early on. Other people not til the end. Everybody watches the film differently.
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