A Quote by Richard Corliss
I had grown up thinking of movies as something to eat popcorn with. Bergman and the other European directors were the first ones to open my eyes to film as art.
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I didn't grow up thinking of movies as film, or art, but as movies, something to do on a Saturday afternoon.
European films had art. And it was easy to make a European film. They didn't come from the studio system, they weren't shot in sound studios, and that's a good thing, because in the studio system those movies would never have had a chance. And since we were coming from Europe, it was natural for us to use that simple style. Small budgets, less equipment, that was just how it was.
I don't have any problem working with first-time directors because all directors have to start somewhere and all great directors have had a first film. So, if you take the view that you don't want to work with a first-timer, you might miss out on a fantastic opportunity.
Growing up in any big city, you get exposed to so many beautiful cultures. I've grown up with a lot of open eyes around me that's influenced my eyes to open.
When I was first exposed to the films of Ingmar Bergman, I found them frank and disturbing portraits of the world we live in, but that was not something that displeased me. They were beautiful. I thought people would respond to my plays the way I responded to Bergman's films.
The privilege I've had over 15 movies over a very long time has been to make movies that were ambitious or grown-up, complex, that had themes in them that were sometimes political, sometimes challenging, to make these movies on a scale.
When we were kids, we would never open the minibar. A $6 Snickers bar? But the other day I was in a hotel and I was staring at a Snickers bar, and I finally just ate it. Then it was like something in me snapped. I opened all these drinks. I thought: I can do it now. Now I'm all grown-up. I can eat things from the minibar.
In America, people really love movies here and it's part of the culture. Even in Germany, still sometimes, the theater is always bigger than movies. It's more art. Movies are more popcorn. Here, movies are really an art form.
I gravitate much more toward realism, realism in the work that I do, but magical realism got me hooked on film. I think it was my first time realizing that there was something besides popcorn movies.
We were film geeks. We devoured everything: really obscure art films, foreign films. We were the kind of guys that lived at the Cinematheque. But at the end of the day, your favorite movies are like everybody else's favorite movies. Because those are the movies that become a touch point where you can connect to other people.
I think waking up in the middle of the night and seeing stuff in the dark and thinking it is something scary or demonic. When you first wake up and you see things and you're eyes aren't open and things aren't what they seem. That happened to me like three weeks ago!
I always had something to think about or draw from, which as an actor is a gift. The beautiful thing about film is that it gets so much closer than stage. I love stage and that's what I started doing and it's a beautiful art form in of itself, but in film you can move your eyes to the side and somehow the audience can fill in the blanks of what you're thinking.
I love Donnie Darko movie so much. Just before I got that script, I had been to see some European art film. I walked out of that movie and said to my husband, "That's what I want to do! I want to do an art film and take it to the edge." Within two weeks, we were getting ready to go on vacation, and my agent called.
An Ingmar Bergman film would probably owe a sizeable bulk of its import and its direction and its quality to the directorial end and to the director because it's uniquely a Bergman film. But that again is not the general - no, that's much more the exception than the rule.
I had grown up working in a video store, and I'd grown up more with film than I had with theater, so I kind of felt a natural call.
In the 1950s, we had all these B-grade science-fiction movies. The point was to scare the public and get them to buy popcorn. No attempt was made to create movies that were somewhat inherent to the truth.
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