As a film director and as film actors, you get used to a certain rhythm that's slow. But with TV, it's hurry, hurry, hurry, hurry, hurry. It's a different pace. So, it's about adjusting to the pace. It's not meant for everybody.
I don't think anyone likes anything of mine. At the end of the day, I love it, but just because I love it... I happen to love broccoli, not a lot of people like broccoli. I always question if somebody else is going to love my films.
I always want to be growing in my craft. Any artist should - whether you paint, whether you do music or film - always grow and study.
Every practice, every film session, every game will help our chemistry.
Everybody has someone in their life that has breast cancer. It touches femininity, motherhood and sexuality and as Barbara Brenner says in the film, "you get to say breast out loud in public." Big corporations know this and market in a particular way knowing that women make most of the buying decisions in a household.
While it is increasingly possible for filmmakers to find an audience on their own (something that is particularly popular amongst documentary filmmakers) I'm still a believer in the "specialist". By this I mean, I back myself as a filmmaker, but I leave the marketing and distribution of my films to the experts.
So when my film career took off, I always felt like I was trying to play catch-up because I hadn't studied acting before. I didn't know how to manage money or my career. When I look back, I think I was a little bit shell-shocked.
The character is important, of course, but I like when there's intelligence in a movie. I like when it's, how do you say, sensible. So for me a film is very subjective, and it's a point of view. I like to be brought into a world of a director.
Making movies in France is different, but it's still acting, you know. You still have doubts and you're scared, always, but I really love doing films in America, because I love to speak English. But I think there's something very entertaining about American films. But I also like the intimacy of French films.
I'd love to do just straight theatre. I'd love to do film and television, too.
All the Disney Princess films are iconic and beautiful, so to have been a part of all that was really a wonderful part of my life. Its all fabulous, too, that I have a daughter that appreciates the whole Princess thing.
Film is an itch I have yet to scratch.
I've been very blessed to work in some films that I'm very proud of. When you're going to commit yourself to a series, to a certain degree, you're almost saying, "Okay, some of these opportunities, I'm just not going to be available for," so it has to be something that you really, really are passionate about.
Every medium has its advantages and weaknesses and there are many things I can put down on paper that I might not be able to put into film or into a stage performance. In each form, one can communicate powerfully in different ways.
As I've indicated, most books go out of print within one year. The same is true of music and film. Commercial culture is sharklike. It must keep moving. And when a creative work falls out of favor with the commercial distributors, the commercial life ends.
The movies that made me want to make movies were action movies, and thrillers, and Kurosawa films, you know, where you have an opportunity every day to shoot it in an unusual way. I was looking for something like that.
That was certainly true the first time, when I did Body Heat, the first movie that I directed. I was looking for a vessel to tell a certain kind of story, and I was a huge fan of Film Noir, and what I liked about it was that it was so extreme in style.
I don't think that my work appeals that much to the hard-core, avant-garde film audience. They appeal to people who teach film and those establishment figures on the East Coast.
Film is a very collaborative medium. If you're smart enough, you learn how to maintain your vision while drawing resourcefully from all the people around you.
I come from an everyday middle class family in India. The film industry reached us only through our television sets and cinema halls.
I make films, and festivals, museums, and academia are embracing the work. It will be heard. It's bound to happen because cinema is universal. You create it, some people will notice it, some people will watch it.
I'm very fatalistic about life. Whatever happens, happens. The imperative for me is that I do my contribution for my people, for my culture. I still want to make films for them. I still want to make films that confront our struggles.
There is no border. I'm branding my films as Malay cinema, but it's just about cinema. Everything that I make is about humanity's struggle, so there is no border, really.
There is no border in my films. You can see yourself in these stories. This is the greatest thing about the power of cinema. It's very present. It's all there. You can't escape it.
The thing that a lot of people may or may not know is every artist is a cinephile, whether they watch movies whether they're painting, or have films that influence them.
In silent films, quite complex plots are built around action, setting, and the actors gestures and facial expressions, with a very few storyboards to nail down specific plot points.
I think women are amazing and womens friendships are like a sisterhood and we should see more of it in television and film.
When a certain show or film or celebrity captures the imagination of the masses that has a good deal to say about us, I think, and what is happening in our collective psyche.
Audiences, whether they're seeing a film or a reading or whatever it is, a concert, they decide very quickly what kind of show it is, and then they judge it. They judge the rest of the thing by whether it conforms to their rules for what a good symphony orchestra would be.
My stage successes have provided me with the greatest moments outside myself, my film successes the best moments, professionally, within myself.
It suits me to be in a series that takes ages to film.
I always feel like every film takes the franchise and hangs it in the balance.
I went to film school, so I certainly know how to make things quickly and cheaply. But at the same time, I have the experience of working with Steve Starkey for three years. I watched him produce some gigantic movies.
The way that I write songs is pretty simple. I hear music first, much like you would when you're scoring a film. I usually hear a soundtrack in my head, and after I get that soundtrack, it tells me what it's about, what it feels like, what the emotion is, and the words come after.
All my film ideas and subjects have come from photography.
Howard Hawks said he'd like to put me in a film with Cary Grant or Humphrey Bogart. I thought, "Cary Grant-terrific! Humphrey Bogart-yucch."
In terms of acting, we go through phases of being really inspired by film and television and actors and works that we've read.
I think one of the most shocking things is how little our elected officials knew about what the NSA was doing. Congress is learning from the reporting and that's staggering. Snowden and [former NSA employee] William Binney, who's also in the film as a whistleblower from a different generation, are technical people who understand the dangers.
I always said when I was younger, I wanted to write film music, and I think that's what my ultimate dream is.
One absolutely crucial change is that feminist film theory is today an academic subject to be studied and taught. "Visual Pleasure and Narrative Cinema" was a political intervention, primarily influenced by the Women's Liberation Movement and, in my specific case, a Women's Liberation study group, in which we read Freud and realised the usefulness of psychoanalytic theory for a feminist project.