A Quote by Steven Sebring
I remember when we were at Sundance, we were in Robert Redford's screening room, and I had never seen the film look so beautiful or sound so great. It was really big and really powerful, and I had a sense of accomplishment in finishing a project like this.
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I think what Robert Redford established is amazing; thank god for Robert Redford. He's set an amazing example with Sundance and I hope to follow that in my own way.
The big stars I felt a kinship with were never the romantic leads. It wasn't Steve McQueen or Robert Redford - it was people like Walter Matthau and Anthony Quinn. My big hero was Tommy Cooper.
I met Michael Snow and Stan Brakhage the second day after I arrived, you know. I had never seen or heard of Brakhage. For me, it was a revolution, because I was well educated in film, but American-style experimental film was known to me in the abstract, and I had seen practically nothing. I had seen a film then that Noël Burch had found and was distributing called Echoes of Silence. It was a beautiful film, three hours long. It goes forever and it was in black and white, very grainy, and I saw that film and I thought...it was not New Wave. It was really a new concept of cinema.
The sixties were when hallucinogenic drugs were really, really big. And I don't think it's a coincidence that we had the type of shows we had then, like The Flying Nun.
For 'Frost/Nixon,' I had eight people who were present at those interviews - they were all in the room - and when I interviewed each of them, they had a totally different narrative of events, to the degree where you thought, 'Were you all really in the same room?'
Corsets do look so pretty. Once I watched it, I was like, "Well, they do look nicer than the way I do normally," but they're really uncomfortable. You start to realize why women would pass out. We had the real ones, and they were just awful. At one point, I was like, "I think that's my spleen that this is digging into." So, if I had a nightgown, that was always really comfy. I had a few coats that I thought were pretty cool.
It never ceases to surprise me, the people I get to work with. I'm in a French film with Sandrine Bonnaire? I adore Sandrine Bonnaire. I'm doing a picture for Robert Redford? The Sundance Kid? I have to pinch myself sometimes.
I grew up on the side of the stage. I never had a fear of an audience. I never felt like they were separated from us. We were all in the living room, and it happens to be a big living room. I continue to operate on that assumption.
What's weird is the Hot Boys and the whole New Orleans Cash Money thing had a really big impact on the Bay when that was popping off. I don't all the way understand it. I mean, I know that they were big everywhere and had a lot of commercial success in the mid to late '90s, but they were really, really felt in the Bay Area.
I look to everyday magic in art to remember how to live: how to estrange and vivify ordinary objects and beings. So little, really, is ordinary, but to remember this I need the brain chemical of painting and film and reading I had a thrummy doomed oracular feeling when I wrote blackened baby teeth into my little blind boy story: I saw teeth and in an instant they were becoming something else. They were buckshot. They were food. They were tiny flightless corvids.
The idea of going to the movies made Hugo remember something Father had once told him about going to the movies when he was just a boy, when the movies were new. Hugo's father had stepped into a dark room, and on a white screen he had seen a rocket fly right into the eye of the man in the moon. Father said he had never experienced anything like it. It had been like seeing his dreams in the middle of the day.
You know, I really wish now I'd had the nerve to become an actor. Because I'd have been Robert Redford, no question.
Obviously, there's a big homage to Outland in Moon. I obviously had Ridley Scott's response, which was great. But Peter Hyams really loved Moon and was really enthusiastic about it. He was also enthusiastic about the fact we'd remembered Outland and had remembered it fondly. I think, for him, it was like some kind of edification that there were people out there who loved his film. So, that was a really lovely feeling.
The whole first movie [Twilight] was pretty fun. I had never really done a movie like it, when there's such a big cast of people that are around about the same age. Everyone didn't really know what was going to happen with the movie, but there was a good energy. There was something which people were fighting for, in a way. They wanted it to be something special. None of us were really known then, as well. It felt like a big deal, at the time.
I'd never studied film. I had movies that I loved and movie stars that I looked up to, but I really had not seen a lot of the great classic films that he felt like he wanted me to see before I took on such a huge role.
'Cuckoo's Nest' was my first film, and I had wanted to do film for some time, but somehow I had not clicked. I would go in for interviews or readings, and I never had the sense that I was anywhere near what they were looking for.
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