A Quote by Paul W. S. Anderson
I never really thought I went away because I've written all of the movies and I'm produced them all and certainly provided services about and beyond the average producer on two and three. I was on set most of the films and called action and cut a lot of times and did all that good stuff.
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I've always written towards movies that take place across two worlds. Most of the movies that I've worked on take place in two worlds, or sometimes three worlds, where you have a normal world and a fantasy world that mix and overlap. I never shy away from the series stuff in the real world. Big Fish is about mortality.
I've done two motorcycle pictures: I did 'Beyond The Law,' and I did one produced by Tarantino called 'Hell Ride,' with Dennis Hopper and David Carradine and Vinnie Jones. And I just think 'Hell Ride' was a lot more of what a biker movie should be. But the good part of 'Beyond The Law' was that I had a good time with Charlie Sheen.
When I stepped out from doing films and had a dark period, I never did anything dark on a set, so I never made enemies on a set. I never was a bad girl on a set; I always considered films a really sacred space, so when I had my problems, I had them very much away from the film community.
And also, I'm most comfortable with like two people just sitting and talking about their feeling, you know, in a room with like two cameras and that's it. And I wanted to do something where there was like action and running and you know crowd scenes and big set pieces and certainly did a lot of that, so yeah.
I'm a big fan of the 70's action films. Where there is a lot of character and a lot of great action, but the action is kind of cemented with a great back-story with characters. And I thought, this kind of reminded me of the movies that, early on when I was telling Dwayne (Johnson) and the guys, the producer... my whole thing is if you look at a movie like The Driver by Walter Hill, it's a film where there's no names. They are just named, "the driver", "the cop".
As a consumer, I love action movies and have a lot of opinions about how action comedies don't really do justice to what I find exciting about an action movie, which is the genuine thrill of watching something that feels really high-stakes. A lot of times, it's played for laughs and action, which waters down the sense of danger.
That's why I'm really trying to produce my own stuff. This film was so good, because I produced it myself, and developed it, and made it with New Line, which is a smaller studio, so I was in control of a lot of stuff that I wasn't in control of for my other films.
Because of Walter, we did it the other way around. We also worked with an awesome sound designer named Will Patterson who just worked for four years on Terrence Malick's films. He did a lot of conceptual work to make the soundscapes in the jungle have this surreal quality, to blend these two films because a lot of the images are about this parallelism between the movies. The sound was very integral to fusing everything.
I never worked on different films at the same time. I made one by one. I never made two or three films together. This is impossible! I only have one head. It is impossible for me to think about two films at the same time. There are a lot of these legends about me, and I don't know why. I'm not a legendary man. But the people all the time say I make three films at the same time, and it's not true. Don't believe these kinds of things.
I do have huge pressure in terms of making my animation, because a lot of audiences and producers are expecting me to make films with a lot of action. They all know that I'm very good at action scenes, but I tend to not use many, so they're all frustrated with me. But I do that intentionally. Yes, if I do a movie with a bunch of action, it's going to be a lot more successful than the types of movies I'm making right now. The producers often say, "Instead of using all these philosophical phrases, why don't you change this into an action scene?" But I intend to continue to make these movies.
Well I’ve been doing it for about twenty years, I did films when I was a little kid, when I was about six or seven, I was in films and I had this really high voice, I did a series called Dinobabies, that was my first one. And then after that I did Madeline, yeah so it just kind of happened and then never went away. Then everyone said your voice is going to change and you’ll be out... No, no, still on helium.
I grew up loving action movies and films that were set in supernatural, unimaginable places. So I take being a woman in the film industry who is able to do action movies very seriously because I'm making the kind of movies that I wanted to watch as I was a kid and that inspired me and are the reason as to why I am here.
'Good Times' was with a live audience, three camera, and that was really intimidating. Because there were people on both sides, moving from set to set, and it was pretty scary. As I say, I didn't have a foundation in Hollywood. I hardly knew anybody. Just at the social level. I felt pretty isolated here, I really did.
When I make a film I'm away from home for two to three months. So I want my kids to look at my films one day and say, I love his movies, I love his choices-because he loved them.
I took my acting very seriously. I did over 40 films, and naturally, some of them were called B-movies because the woman was at the top of the billing. Women couldn't star in their own movies.
I've been on so many movies. Generally, I haven't gotten to be on the ground level. As of two years ago, in 'Dear John,' I got to really be on the ground floor. I wasn't a producer. I felt like I put the work in, and I did have a lot of sway on what got fixed, reshoots, so on and so forth. It felt really good.
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