A Quote by Sylvester Stallone
Early on everyone should do, every time they do a big film, they should do a little film. It really does keep you grounded.
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I think personally that every actress should do a little film. Even a short film. And all directors should act, to know how difficult it is also the other way around.
I got into film in an odd way - when I was 17 years old I participated in a Swedish film as an actor. I think every person at that age should get a role in a film, because during that time you want acceptance, and when you have a role in a film you become an important person. I think about that now, and that was my fantastic starting point.
If I hear a film clip, or I happen to see some image from a film - you go to a film festival, and they show some clip of the movies you've been in, most of the time I sit there and go, "Oh God, I should have... should have... that was terrible." But I think that's a natural part of this work, because really, your work is never over. Of course I can leave it alone and walk off the set and never think about it again when it's done. But your work is really ongoing all the time.
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.
But I don't think as film-makers it is our responsibility that every time we make a film we should be saying something. If you are entertaining people, that's more than enough.
I don't really get stuck in a time warp where, if my film is a success, I have to keep partying till the next one releases, or if my film is a flop, I keep wallowing in sorrow until the next comes my way. My hard work in each film is always there.
If it's a good work of adaptation, the book should remain a book and the film should remain a film, and you should not necessarily read the book to see the film. If you do need that, then that means that it's a failure. That is what I think.
I should say that feminism gave me permission to deal with my own emotional life and put it up front in certain ways, or use film as a way to examine, at that time, my own heterosexual experience. Lives of Performers was the beginning of that kind of investigation. But also, the film was influenced by the aesthetics and structures of experimental film as that was taking place at the same time. Hollis Frampton was a big influence on me at that time.
The thing I really love about film is there's a really big sense of teamwork, and everyone has to do their job to the best of their ability to make the film work in the first place.
If a film is suitable for family viewing, it should remain so, and if a film has some adult content, it should remain so, and these genres should never be mixed and spoil the vision of the story teller.
We also have this reflex of using specialists for everything, instead of having the person who is there every day with them, the teacher, talk about death and suicide. In the film, it's portrayed a little bit like a caricature, but it's the psychologist who comes in and Monsieur Lazhar does not think it's a good idea. He thinks he should be the one who should talk about that with the children.
I think every good, entertaining movie should have a message. I really believe that, because if you do it without it, the film feels a little bit soulless.
I'm very manipulative towards directors. My theory is that everyone on the set is directing the film, we're all receiving art messages from the universe on how we should do the film.
The new Bond film, will be a big, big hit, because every Bond film is an event. Fathers take their sons to it; probably grandfathers. It's been a long time, and I think that the success of Bond is because the audiences have never been cheated by the producers. They always spend every penny, put it on the screen, and then the things that people expect to see in a Bond film - big action scenes, glamorous ladies - it's pure escapism.
I'd say the film to avoid is a director's second film, particularly if his first film was a big success. The second film is where you've really needed to have learned something.
A film is its own thing and in an ideal world I think a film should be discovered knowing nothing and nothing should be added to it and nothing should be subtracted from it.
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