A Quote by Howie Long
I think people who had made the transition from sports into film, the mistake that they made in the past, they tried to be too much. They tried be the guy in the film.
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On another level this film talks about that. We had tremendous freedom while making this film. We never thought about marketing. It wasn't a film made to sell merchandise or products or to reach millions of people around the world. It was a film made to say what I really felt.
I was at art school that had quite a celebrated film course as well. I tried for that film course when I was 18, but they said I was too young. I tried this audio and visual design course instead. Two years later, I reapplied for that higher course, but they said I was still too young and to try in five years.
The biggest mistake, in general, I've made, is to put too much of a weighting on someone's talent and not enough on their personality. And I've made that mistake several times. I think it actually matters whether somebody has a good heart, it really does. I've made the mistake of thinking that it's sometimes just about the brain.
I tried to score a few films with this composer Brian Reitzell here in L.A. We made a bunch of music we really loved, but we got fired from the film for being too weird.
I'd like to be remembered as a guy who tried - who tried to be part of his times, tried to help people communicate with one another, tried to find some decency in his own life, tried to extend himself as a human being. Someone who isn't complacent, who doesn't cop out.
I was really able to confirm something that I knew on some level before I'd made a film. The best actors know how to really relax. Because in film, a lot of the decisions are made in the editing room, so when you're trying to guide your performance too much - always it's a push and pull because you can't be too relaxed. Too relaxed and it's like, "What are you doing?" Too tense and it's not good either.
'Sarfarosh' has made people realize that I can act. This film has made me grow as an actor. There was a general impression among the people that I can only play a bad guy without any dialogues. But this film has given me a break and I have proved myself as an actor.
I made 'Siam Sunset.' In Australia, it was pretty much universally hated, but I did notice that almost any American who saw it loved that film, so in 2001 I made a film in America called 'Swimfan,' and they released like a big studio movie, and it made money.
He read a lot. He used a lot of big words. I think maybe part of what got him into trouble was that he did too much thinking. Sometimes he tried too hard to make sense of the world, to figure out why people were bad to each other so often. A couple of times I tried to tell him it was a mistake to get too deep into that kind of stuff, but Alex got stuck on things. He always had to know the absolute right answer before he could go on to the next thing.
In any film business, if you're trying to get your next film made, you would never say, 'Oh, my last film was a cult film.' I'd say, 'Oh, great, well I hope this one isn't!' I always say to Johnny Knoxville, 'How do you do it? You sort of do the same thing we did, except you made millions, and I made hundreds.'
This is one of the factors that also made me very much want to make this film, apart from the fact that I loved it. If the boy hadn't been Jewish and the man hadn't been Muslim, it wouldn't have made any difference to the film. I don't think it's relevant, really.
I made my first film McLibel independently but only by accident. I tried to get a commission from all the standard TV broadcasters but because they had been sued by McDonald's in the past none of them would commission me so I ended up making it by credit cards and rich boyfriends (I'm joking - about the boyfriends).
One of the big mistakes Republicans made with the Contract with America is that they tried to do too much too fast, and people revolted against it.
When I look back I either feel I did this mistake while shooting or writing. Eventually you try and make sure you do not repeat the same mistake with your next film. I always feel I could have made the film better.
I saw an early cut of 'The Disaster Artist,' and I thought it was inspiring in a lot of ways, and it made me realize it had been so long since I had tried to make a film or to try to - you know, the book was obviously my first kind of big creative pursuit I had control over.
I wrote Murder at the Windmill. And it was accepted and we made it and it was the first film I made with Danny Angel, well the only film I actually made... I made a lot of it at the Windmill itself.
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