A Quote by Jim Jarmusch
What I did was I completed the half-hour film, but before really showing it, I wrote two more sections for a potential feature film which I didn't think would really happen, but at least I had it in case.
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Robert Rodriguez, makes a feature film in 35mm celluloid one and a half hours long, and nobody believed him, I think he wrote a book about it and gave all the details of how he spent the money, even making a 35mm celluloid feature film was possible, at least for Rodriguez.
I'm probably going to go more the feature film route for a while, just so I have more time on my hands. If I did go back to television, I'd do a comedy, a half hour. Or I'd go back on an hour long if it was ensemble, if I had a smaller role, if I could work less days.
Everything was a lot more challenging for me because of who my brother was. If I were in the film, someone would had said that I got the part because Eddie's in the film. If I wrote a script, folks would say that I didn't really write that: that Eddie did and I threw my name on it.
Even before 'Moon,' I did a short film called 'Whistle,' and it had a lot of the things that I thought I would need to be able to do on a feature film: I shot on location, there was special FX work, there was stunt work, we used squibs, I shot on 35 mm film.
I wrote a film for Tom Hanks and I wrote two films for Paul Greengrass that didn't actually happen. The paradox is that the bigger the film you write, the less likely it is to happen.
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.
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.
I really liked the script of 'Alone.' I thought there were a lot unexpected things in the film, which I would want to watch as a viewer. I did not think like I was doing a horror film; I did not think in terms of genre. I decided on the basis of the script.
When I got the deal to do 'J. Edgar,' which was really the brainchild of Brian Grazer, 'Milk' hadn't come out yet. We had just completed principal photography, and it was still basically this little film where we just really hoped someone would see it.
When I was going for my graduate degree, I decided I was going to make a feature film as my thesis. That's what I was famous for-that I had my thesis film be a feature film, which was 'You're a Big Boy Now.'
You would think, in an ideal world, that if you were in a really good film and did a really good job, whether it was a big film or not, you would get hired a lot; but that is not my experience.
I think that too often we, film directors, think that a big epic novel and feature film are the same. It's a lie. A feature film is much closer to a short story actually.
I want to do more independent film. I'm blessed to be working on really quality episodic television, which to me actually feels like a sort of 13-hour film.
Every once in a while you definitely have to film someone for half an hour saying something that you do not think is funny because for the previous two hours they said a bunch of stuff that you think is really funny.
I did manage to secure a feature film for 2005, though, which I'm really chuffed about.
The feature film has changed a lot. Art houses are gone and people show a certain type of cinema in the big theaters now that, you know, it's not quite really good for me, and if I made a feature film, I was think I'd play in LA and New York for a week, and then go right to television.
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