I always thought that as much as I love 'White Jazz,' it became almost unfilmable at some point, because there are so many strands, so much, and it became so psychotic... that's what made it such a great book, but those things would not carry over into the filmic realm, I thought, with ease.
I don't know if I'm the most religious guy, but I think I'm a spiritual man, and these are the things I think about a lot. In terms of the film, I think 'The Grey' is very much a non-denominational kind of film. I don't think it's something that relies on a particular religious bent to tell the story.
In terms of big spectacle, I thought 'Captain America 2' was phenomenal. I really loved that movie, and it was a great movie as a stand-alone.
To me, still my favorite 3D film is 'Dial M for Murder.' I thought that was great. Hitchcock used it, could put you in the room, which I thought was fantastic, but I'm still not a devotee of 3D.
I think as a filmmaker and as a director, you shortchange yourself if you inhibit the ability of your actor to bring their own personal experiences to the characters.
I always look for... hopefully look for a challenge. And you're always looking for the next summit to hit. Even if it's a personal one. It needn't be some great sense of monumental... It just has to be important to you and big enough and special enough and individual enough that you get up for it. And that can be anything.
On 'State of Affairs,' we're going after some names that you wouldn't think would traditionally do TV. A show that shoots in Los Angeles is such a rare bird in hand that I think we're gonna have the pick of the litter.
As much as I love Antonioni films, I love the Three Stooges.
Regardless of the medium, be it television or feature or documentary, I'm not gonna distinguish and worry about my particular canon, whatever that means.
There's a film that I wrote that I want to do called 'The Grey,' which is about a group of pipeline workers in Alaska flying back into civilization after being remote for a number of months. The 737 they're on goes down, and they begin to be hunted by a pack of rogue wolves.
'Raising Arizona' is maybe my favorite comedy of all time. What's great about it is that as slapstick as it gets, it has great moments of emotion and caring. Them bringing the baby back and Trey Wilson's character. I love that, man.
'Raising Arizona' is maybe my favorite comedy of all time. What's great about it is that as slapstick as it gets, it has great moments of emotion and caring. Them bringing the baby back and Trey Wilson's character. I love that, man.
On 'State of Affairs,' we're going after some names that you wouldn't think would traditionally do TV. A show that shoots in Los Angeles is such a rare bird in hand that I think we're gonna have the pick of the litter.
There's a duality of a guy calling on God: 'Where are you when I need you?' and then, at the same time, 'God helps those who help themselves.' I think that contradiction does exist in all of us, those of faith and those who profess to have no faith.
There's a duality of a guy calling on God: 'Where are you when I need you?' and then, at the same time, 'God helps those who help themselves.' I think that contradiction does exist in all of us, those of faith and those who profess to have no faith.
I have a very warm feeling about Kickstarter 'cause I think it's the best of what we can be. It's people who actually help out our fellow artists. We actually kind of go into our pocket for something. It's very rare.
I always thought that as much as I love 'White Jazz,' it became almost unfilmable at some point, because there are so many strands, so much, and it became so psychotic... that's what made it such a great book, but those things would not carry over into the filmic realm, I thought, with ease.
To me, the bones of 'Smokin' Aces' is in the Coen brothers. 'Barton Fink' and 'Raising Arizona.' Those two movies, if you look at them, that's where a lot of that comes from.
I wish I'd made 'Warrior,' and I wish I'd made 'Drive.'
There's a vast difference between marketing a movie and the movie itself. You try to cast as wide and broad a net as possible.