A Quote by Patricia Clarkson
But I have had the luxury of working on good films with great people.
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In films, you work for three to six months, and you're out of the character. But for a daily soap, you don't have that luxury. So the character has to be convincing. Otherwise, your mind is not in it, and you're just working for money, which is a good amount in serials. But I want both: good acting and good money.
It's really a great luxury to have, to be able to go from big films to indie films, too. Because I'm on the job learning as an actor, and independent films is where I'm learning to act.
I guess people feel that if you're working with good directors and are known in the Hindi film industry, then you won't work in South films. However, I believe that films have no boundaries of language, religion, or cast. If it's a good script and a good director, I can do a film in Spanish as well.
All of a sudden, there are great Japanese films, or great Italian films, or great Australian films. It's usually because there are a number of people that cross-pollinated each other.
It's a privilege to be able to be involved with people as talented as the people I've had the luck to work with, and it's just been a great experience for me, and I'm glad that so many of the films I've had the luck to do were films that could be enjoyed by families together.
Richard Donner made great movies. Seminal movies. The Academy, though, and we have to be careful here, should recognize popular films. Popular films are what make it all work. There was a time when popular movies were commercial movies, and they were good movies, and they had to be good movies. There was no segregation between good independent films and popular movies.
We have little bits of comedy throughout our films but this is like a full-on comedy. I had great time. It was fun to do a comedy and see a lot of the people I worked with on our previous films and meet some new actors. It was a good experience for me.
There's more of a family connection when you're working on a TV show. That's not to say that you don't make great connections when you're working on films, but it's different unless you're there working every day.
I had the luxury of working on the script with Andrew [Dominik] for a good year before the film started, so I was already intimate with the story [of The Assassination of Jesse James] and felt quite prepared walking into it.
I've had the luxury of working on a lot of our great brands here at Warner Brothers, including a lot of the DC ones. I've also worked on a lot of great brands that were not DC.
In 'Stree', I had a great time working with the whole team and Dinu, being the producer and one of the most important people. And now we are doing another film together, and I'm sure there will be a couple of more films in the future.
Most brands that are called luxury brands today are not true luxury brands. The globalization of fashion and luxury means you now find the same luxury brands in every city. The stores look the same, the products are the same. It is still a very good quality product but it is now readily available to everyone. It's a kind of mass luxury.
People talk about the difference between working on stage and working on film. I think you could say that there are as many differences between working on low budget films and working on big budget films. You really are doing the same thing, but at the same time you're doing something vastly different as well.
We actually tried to put in [Kung Fu Panda 3] all the things we wanted to put into the first two films. We're all the same people who've been working on the other films and we all had things we couldn't do, and had to leave on the table. We just couldn't achieve them before. This time we have multiple new environments and different styles of animation.
I have 60 people working for me in my studio. That's luxury if you ask me. I just dream. Tell those people that I want a certain thing. Those people will then invest days, and sometimes months, in bringing that idea to life. What more could you ask for? That's luxury for me.
From the moment I met Martin Scorsese in 1962, he educated me about the films that had taught him so much about filmmaking. He had been deeply affected, even as a child, by great films that stretched his mind and struck into his heart, and he was eager to share them with friends and people who worked with him or with actors who were in his films.
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