If I made a musical in the beginning of my career, it would have been crane shots and tracking shots and people coming out of cakes and whatever, but these techniques are something that I've left behind me.
Far be it from me to force anyone into either chess or dressage, but if you choose to do so yourself, in my opinion there is only one way: follow the rules.
I'm happy that I'm alive. I feel like someone coming back from Vietnam, you know; I'm sure that later on I'll start killing people in a square somewhere, but right now, I just feel happy to be alive.
I think it's important that we all try to give something to this medium, instead of just thinking about what is the most efficient way of telling a story or making an audience stay in a cinema.
I sit there pouring out my woes year after year, coming up with one enormity after another about my mother and the way she let me down; but it doesn't make me any the less fearful.
My films are about ideals that clash with the world. Every time it's a man in the lead, they have forgotten about the ideals. And every time it's a woman in the lead, they take the ideals all the way.
Actors need bricks to play with, and in fact we rejected all the improvised fragments we had made without a plan. Improvisation without a plan is like tennis without tennis balls.
Only a fool does not fear actors, but you can't beat them, and if you can't beat them, join them, as they say. As I've got older I've become very interested in that part of the work.
