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I personally believe the film turns out better when shot in one short schedule, plus it doesn't stress the actors.
I've shot films in locations that have seemed haunted. I shot a film in a maximum-security prison in Russia. Part of it was on a psychiatric ward - there were definitely some creepy vibes there.
I don't have any experience with film schools. I suspect that they're useless, because I've had experience with drama schools, and have found them to be useless.
Acting is always going to be number one, but what I learned in film school, I want to make that happen too, so Im going to actually start working on my own.
I have a film called 'A Lonely Place For Dying,' which is the most watched film on the Internet, over 3 million hits, more than any of Hollywood's films.
I want to have a great director, and also a great producer and co-stars. And there should be a tight script. After all, regardless of how the film turns out, I must have fun doing the film!
The film [Kite Runner] was not as big a hit in the United States as it was worldwide, I think it may have been swallowed up by all the other movies it had to go up against.
The first film is everything you want to say and how you want to say it. Lots of directors will do that and do it really well, but the second film is not so easy.
I always have directors who are somewhat frustrated because they'll reference a beautifully obscure film from the '50s or '60s or '70s, and I've not seen it.
Films don't decide my whole life. They are just a part of who I am. What I do in my personal life should be of no concern to the filmmakers or the fans.
I think producers are more interested in backing concepts than directors and writers. I don't think that's the right way of making a decision about whether you're going to back a film or not.
A film like Hoop Dreams is what the movies are for. It takes us, shakes us, and makes us think in new ways about the world around us. It gives us the impression of having touched life itself.
I read that Hollywood wanted to film Fences years ago with a white director, but [August] Wilson refused. He thought that the director needed to have lived the culture of black Americans.
It takes years to establish yourself, and then you have one big film and everyone calls you an overnight success. You think, 'Christ, I've been sweating and crying for seven years.'.
Literature and film have a way of lifting you from your own existence and transporting you to some foreign place and putting you in the shoes with an experience different than your own.