Hope E. L .James doesn't think I'm being a prankster. I really want to adapt her novels for the screen. Christian Grey is a writer's dream.
'Game Of Thrones' was too big a canvas for a movie, but 'Dirty White Boys' is like a great old Western: there's so much compression, and it's so pressurized, it demands to be told in one sitting.
Even if it flops, when you're sitting at the drawing table, you dream about seeing your work on the big screen, no matter what.
Shakespeare has been adapted by Akira Kurosawa. 'Dangerous Liaisons' has been adapted into a Chinese movie. 'Blood Simple', the Coen brothers movie, was adapted by Zhang Yimou.
I personally am a very big fan of 'Romeo + Juliet.' It had a visceral power to it that I thought was just exhilarating. It was a very arresting and very disturbing and deeply compelling version of the play.
There's a different set of writers and a different director for the films, but Marvel has turned it into a pretty spectacular job.
I don't generally derive my stories from novels. I try to turn into film things I have felt or experienced.
How do you capture the drama of a Rembrandt painting in a movie? How do you feel that moment that they captured in two hours? I kind of fell into it and at one point, I decided I wanted to live an art life; I wanted to tell stories. I came to New York, and did what most people do - you become a PA and run and get coffee and pay your dues and learn until your opportunity comes.
There was a gap of seven years between the first and second Dracula movies. In the second one as everybody knows, I didn't speak, because I said I couldn't say the lines.
Yes, there is some thought about making a film of My Name Is Asher Lev.
The only thing that surprised me about 'Lincoln' is that most of the critics who reviewed the film seem not to have grasped what should have been apparent right from the start, which is that 'Lincoln' is at bottom a play with pictures, not a screenplay.
Movies are not novels, and that's why, when filmmakers try to adapt novels, particularly long or complex novels, the result is almost always failure. It can't be done.
I just really hope that Peter Jackson and New Line Cinema can resolve all their differences. I'm hoping that's going to happen, but we'd have to wait and see. I would love to explore Middle Earth again with Peter.
In Punjabi film industry I am given full freedom to change the lines according to the situation. Directors believe in my gut instinct.
The biopic also wasn't a form that I necessarily believed in, because you can never really get it right, you know? It's also a form that's very popular - the straight-ahead biopic.
I think one of the worst notes I think I've ever received was Ang Lee on 'Brokeback Mountain.' He came in on coverage, and he was like, 'More, more handsome.' I was like, 'I'll try that.'
I think that 'Mary Poppins' needs a subtle reader, in many respects, to grasp all its implications, and I understand that these cannot be translated in terms of the film.
A movie is not a book. If the source material is a book, you cannot be too respectful of the book. All you owe to the book is the spirit.
By the usual reckoning, the worst books make the best films.
I got 'The Grey' made because Liam Neeson wanted to make that movie.
I think that I altered history in 'Elizabeth,' and I interpreted history far more than Danny Boyle or Richard Attenborough did to 'Slumdog Millionaire' or 'Gandhi.' They took Indian novels or Indian characters and very much stayed within the Indian diaspora.
I would like to make a film in the four South Indian languages.
I already played James Dean in a film called Race with Destiny, but it hasn't come out yet.
Many of the comedies I had made in Sweden were slightly based on semi-autobiographical experiences, so adapting novels was a very different experience.
There were a couple of things I lost sleep over with the play 'Frost/Nixon,' so I went back and addressed them a bit more in the film.
