Aske much to have a little.
The funny thing about me is I move from genre to genre, but I essentially shoot all the movies the same way.
The boundary between real life and acting is hard to find.
We should be writing more great roles for women, period. Another problem is that movies are generally made for 14-year-old boys, and 14-year-old boys want to watch 25-year-old action heroes.
I'm really very lucky. I get to do an awful lot. I've been able to make an incredibly wide range of movies and work with an incredible array of people.
For me, making a lot of dramas on one side it's a different sort of challenge, and on the other, it's not a challenge at all, meaning that my goal is to try and bring the realism and acting you might find in a straight drama with the intentions and conflict, where it doesn't feel tongue-in-cheek, but rather committed and real.
I'm a huge comic book collector. When I was a kid, I had both Marvel and DC. I was my own librarian. I made card files. I had origin stories of all the characters, and cross-referenced when they appeared in other comic books. I was full on.
We are not shooting enough professors.
Mama and Daddy King represent the best in manhood and womanhood, the best in a marriage, the kind of people we are trying to become.
I am much more powerful today than the old programs and mind viruses that I absorbed in my childhood.
Many fledgling moralists in those days were going about our town proclaiming there was nothing to be done about it and we should bow to the inevitable. And Tarrou, Rieux, and their friends might give one answer or another, but its conclusion was always the same, their certitude that a fight must be put up, in this way or that, and there must be no bowing down. . . There was nothing admirable about this attitude; it was merely logical.