A Quote by Clint Eastwood
We were dealing with films that had very prominent roles for women and I felt I was actually contributing something. Many people had wondered why I would want to do a film where the best part was a woman's part. But I wasn't afraid to be the lesser intelligence in a film.
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Though I am born into a film family, I hardly had much exposure to shooting during my growing
years. My first film actually taught me about the breakdown of shots in a film. My aim is to do three
memorable roles in the next five years; films I can be really proud of. And I want to work with the best.
I feel that the thing about film and particularly about TV, actually, is it's being created now. We're living in the best time so far because there are many more women writing and women directing, women producing, and people are finally catching on to the fact that women want to go and buy tickets to see female characters and more than one in a film. So I actually think it's a very fertile time to be a woman over 40.
When I said that something was going to cost a certain amount of money, I actually knew what I was talking about. The biggest problem that we were having on the financing front was people with lots of money saying "you need more money to make this film [Moon]," and us saying "no this is the first feature film we want to do it at a budget where we sort of prove ourselves at the starting end of making feature films; we can do this for $5 million." That is where the convincing part between me and Stuart came, we had to convince people with money that we could do it for that budget.
When I was doing 'Ordinary People' and 'Taps,' I never wondered if it would have a lasting impression. I was just wanting to make the best film we could and do my part in that and be true to what my responsibilities were.
The Americans had not played a very prominent part in the war of 1914-1918, he (Adolf Hitler) thought, and moreover, had not made any great sacrifices of blood. They would certainly not withstand a trial by fire, for their fighting qualities were low. In general no such thing as an American people existed as a unit; they were nothing but a mass of immigrants from many nations and many races.
I'm just looking for the best story being told by the best people and the best part that I can find. If those things add up, I want to be a part of it whether it's a studio film or, more likely in that instance, an independent film.
We had a moment in the '40s and '50s, where female characters were very strong in film, where these incredible roles were written for women like Joan Crawford, like Bette Davis. But then there was a space of time where - I don't know why - it wasn't like that. It became difficult for women to find certain roles after a certain age.
All in all, I'd like to venture into film. Films are my staple diet, so I would love to be part of a feature film, independent film... it all just depends on the story and the people behind it, really.
Every part of it is important; the film comes alive when you edit it, the film comes alive when you write it, the film comes alive when you act it, and the same with the directing. They're all the most important part at the time and that's why I enjoy doing it, because you're creating a story and every part is a very integral part of it.
What I consider a good part for a woman and what some other Hollywood people think are good women's parts are very different. I don't' want to play the supportive girlfriend who has nine scenes and just loves that man, maybe cheats on him in one scene but will always be there, and I mean - give me a break. You'll be offered the "lead" in this new hot film with such-and-such A-list director, "a fabulous part" - a fabulous part? A fabulous part is a character with a soul, who starts here and goes to there, you know? There aren't many of those.
When I'm writing film music, I feel like I'm more a filmmaker than a composer. It's more about what the film needs. I'm basically part of the team that's creating a film, and the music is a very important part, but it's just one part of many.
I left film because I felt that photography was my art. It was something I could do on my own, whereas film was so collaborative. I thought as a photographer I could make something that was artistic and that was mine, and I liked that. And it wasn't until I got back into film and I have very small crews and I could do very tiny filmmaking that wasn't 100 people that I still felt that I was making something artistic as a filmmaker. So, you know, I'm an artist, and whether it's photography or film, I want my voice to be there and I think my voice is very strong in this film.
You were able to sing something they related to instantly, because it was part of what you felt. It was part of what you had already traveled through. It's part of the people you were associating with daily. It was all of that.
There were many times during the filming of 'Touching the Void' when I wondered why I had ever thought I wanted to make this film.
I have a feeling he felt Jon Voight had run away with the film, which he didn't, though he was brilliant in it, in a much less easy part. I just don't know what had got into him, but something had.
I had seen 'Onaatah' when I was a part of the National Film Awards jury in 2016. I was very impressed with the film because it was a small but a very inspiring film. Since it touched my heart, I thought of remaking it.
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