When I was doing 'Ordinary People' and 'Taps,' I never wondered if it would have a lasting impression. I was just wanting to make the best film we could and do my part in that and be true to what my responsibilities were.
We were dealing with films that had very prominent roles for women and I felt I was actually contributing something. Many people had wondered why I would want to do a film where the best part was a woman's part. But I wasn't afraid to be the lesser intelligence in a film.
In the case of 'The Deep,' because of the people involved, the talent and the real lives of people who died, I wanted to make the most honest film I could. And sometimes that's the best way to go: Just make the best version of the film you can.
I'm just looking for the best story being told by the best people and the best part that I can find. If those things add up, I want to be a part of it whether it's a studio film or, more likely in that instance, an independent film.
The first impression that I liked doing was an impression of Cheri Oteri's Barbara Walters impression on 'SNL.' I found that I could mimic that pretty well, and people got a kick out of that.
During those days when you're exhausted and during those days when you're frustrated, during those days when you're being attacked by your own people for doing what you think is right, remember you're part of a progression that goes back a long time of ordinary people who are doing their best to make it a better world.
I wondered if that's what aging felt like. That desire and reality were dueling until the day you die, that nobody every got to a place of peace. I had always wanted to get old so I didn't have to care anymore, but I began to think that it would be best just to skip the getting older part and just die.
My best film is always my next film. I couldn't make Chungking Express now, because of the way I live and drink I've forgotten how I did it. I don't believe in film school or film theory. Just try and get in there and make the bloody film, do good work and be with people you love.
I never thought in terms of a "breakthrough" film. I wasn't looking for fame or a career path into Hollywood. I was doing it for myself. I just wanted to make a film that I really loved. If other people liked it, great. But you can never guess what other people are going to like.
When Jeff and I were first starting out and trying to make a name for ourselves, we were doing indy shows, and would take whatever we could get just to have as much in-ring time as we could.
Part of me could do it. Run off and get married. But another part... Another part of me wondered if I could really trust anyone. If all relationships were all doomed.
I really liked doing a number of the projects and directors, and etc., etc., I knew about half-way through that I would never be doing that again. It's just not me. I really am happy as a part-time film composer, not a full-time film composer.
Other writers, producers, and directors of low-budget films would often put down the film they were making, saying it was just something to make money with. I never felt that. If I took the assignment, I'd give it my best shot.
You can't just beat a team, you have to leave a lasting impression in their minds so they never want to see you again.
I've never watched my films with an everyday audience so it was really crazy to watch people clap at the end of my film - with no one there, no actors, no people from the film. It was just a spontaneous reaction, so I thought that was probably the best compliment you could get from an audience.
People would ask if I wanted to host things and I was like, "No, I'm a writer, I don't host things." Just thinking I wouldn't be good at it - which is true - but also just wanting to hold on to some part of my identity.
You'll never make a good impression on other people until you stop thinking what sort of impression you make.