A Quote by Gia Coppola
I really learned a lot when I worked on my grandpa's film 'Twixt' and got to be with him start to finish and sit next to him every day. That was my film school.
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Peter Jackson was very good to me after I made my first film, he was really one of the best things that happened after that movie. I was invited to New Zealand to go hang out with him on 'The Hobbit', and so for two weeks I got to sit next to him and watch him direct, and it was the most amazing experience you could ever have.
Barry Levinson is such a deceptive director, because he seems really lackadaisical. I'd never worked with him before, and I almost got the impression that he didn't really care that much because he was so laid-back. Sometimes we'd finish filming hours before the day was over, which is just unthinkable in any other film experience I've had. I couldn't believe that Barry had the passion for it.
[Russel Crowe] has been through a lot and had a lot of success. No one knew who he was when I worked with him 12 years ago. He's just come off a great film in Australia- Romper Stomper - and so it was good to see him again. Obviously, I'd seen him since.
Patti [Smith] was my experiment, to be honest. And the film is what we got out of it. At the end of the day, I learned a lot about how to make a film.
He's a complete fighter. He has some flaws, of course, but he has a good stand up game, good takedowns and a good ground game. He's a complete fighter, and that makes him dangerous. He hits hard, but I believe I can stop him. I believe I can finish this fight earlier. I'm not underestimating him, but I've learned a lot in my past fights. I have learned a lot in my fight against (Chris) Weidman, so it's likely that I will finish this fight before the fifth round. Whatever it takes. I'm training hard on my grappling skills and my striking, so I want to finish him with a knockout or a submission.
We were to work in a film titled 'Zabardast'. Unfortunately, this film didn't take off. After this, I never got another chance to work with him, I regret not having worked with Dilip Kumar.
I like actors who just become that person and then react, and Adam [Driver] is completely reactive in that way. So every day working with him was really a pleasure. And he's in almost every scene in the film, so the poor guy had to work the - almost the entire 30 days of our film shoot. But, yeah, he was really a pleasure, and I really love what he - how he embodied this character.
Growing up in Texas and Oklahoma, Ben Johnson was more famous than John Wayne to some of us. I knew him. I worked with him on a low budget film years ago, and we'd sit around at night while waiting for a shot.
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 love writing, and I love postproduction. That's great, because you start to reassemble the film, and you sit there, and you start to really put the film together, finally. The shooting of it is the most stressful part of the process.
Going to film school just made me love it. Before film school, I didn't really think much of acting. I was more into making music, but going to school and learning about it every day, it made me grow profound respect for the art.
When I got onto set with him we were given a folder of storyboards. I thought that was pretty incredible because I hadn't worked with anybody who used storyboards before so he obviously had a very precise way as to how he visualized the film from the very beginning. It was every scene, but to his credit he was incredibly collaborative and gave us many opportunities to have our own input and to change things with him, so it was a really great way of working.
I worked with Jim James on my film 'I'm Not There' - he sang 'Goin' to Acapulco' with Calexico backing him up. We just hit it off, and it's such a beautiful moment in that film.
My father was a watchmaker and an inventor. I saw him working in the house every day. The work ethic, I got from him. He worked hard and he never complained about it.
I opened the door for one of the great stars of today, Mr. Ernie Hudson. I put him in 'Human Tornado.' It was the first film he ever made. I put him in the film and gave him a break.
The first director who ever allowed me to shoot a film for him was a male. He was a gay male. My first feature also came from him. I worked for a lot of dudes at NYU.
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