A Quote by Steven Knight
It felt [at the Allied set] like, "At last, I'm in Hollywood," even though I was in West London. It was like, "This is how a film should be made." It was beautiful.
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I have scars from every film I have made. There is nothing to protect actors. They treat you worse than a dog. You work like a slave, and you know, I like it. That is the way it should be. Every film should be like your last.
I visited the set [of Allied] a few times, and it was a great set to visit. A lot of it was in West London, in an old Gillette factory. You'd go into the factory through the security, and then there were a lot of camels and goats. Most sets are really dull, but this was fantastic.
Even though you really don't feel like you're motivated to go to the gym, remember how good you felt after the last time you went. Keep that in the forefront of your brain.
London was the Olympics that I was most nervous about. From coming into the venue and stepping on to the mat, people were supporting with 'Saori' banners and waving the Japanese flag, so even though it was London, I felt much more like fighting at home that way, which was really inspiring.
I'm not trying to be self-serving, but you know, you get to Hollywood, and if you want to make something big and loud and dumb, it's pretty easy. It's very hard to go down there and make a film like 'Sideways,' which I thought was a great film. They don't want to make films like that anymore, even though that film was very successful.
I felt like there wasn't a political discourse. I felt like there was just one set of values, and any one set of values was wrong; that there should at least be room for conversation.
I wanted to do a film for a while, but I never found a script that I felt I was going to be the right person for; because if you've never made a film, you're not taught how to make a film, and you feel like you lack skills.
I felt like it was the space that I could be the most authentic of anywhere because of how I grew up. Even though some of the songs and some of the texture wasn't what I like, I felt like country music was more authentic, in general, than anywhere else.
I felt like the country lays out like a pretty beautiful story itself, heading from the East Coast to West.
I remember the ache I used to feel when she got too close, how it felt like grief, how it felt like a loss, like I was falling, falling into nothing, how it clenched me up and made me want to weep, made me actually weep.
I never made films like kind of career moves, like making this film in order to make that film in order to end up in Hollywood.
A film like Genevieve to my contemporaries is not a film made years ago, but last week or last year. They see me as I was then, not as I am now.
I think one of the London Film Festival strengths is that it's set in London but it's not about London. It's about the diversity of this city and it's about world cinema. And that's what London is - London is a place where its identity is always in a state of flux. So, this festival celebrates the way in which it is always changing. That's why London is a fascinating place and that's why the film festival is a fascinating film festival.
I was born in Paris, and it's a beautiful place, but London feels like home. I like the village feeling, I like running in the parks - even the food isn't as bad as it used to be.
I think that's such a beautiful sentiment. Love should only last as long as a very expensive and impractical bikini that looks stunning, but dissolves in the sea within days. So many pop songs tell of this terrible, tiresome love that they want to last forever. But that just makes me think of long-life milk, acrid and fake. Love should be like a movie trailer. Even if the film's a stinker, you get the best laughs and the biggest explosions in the space of two minutes.
I don't like the idea of stepping-stones in art forms: that you do your time at a regional theatre, and then you work in London and go to the West End, and then you do films. I've never felt like following that trajectory.
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