'Into The Wild' had a great sense of wild, unpredictable freedom that I loved, and 'Unforgiven' is just a great western with characters that walked the line between right/wrong with an ambiguity that felt very true to frontier life.
Oftentimes in films, the female character, if she's not the protagonist - and often, even if she is - feels like an imitation of what a woman is.
Apart from 'VIP' being a blockbuster movie, the various characters such as mine, the Luna bike I use in the movie, the lovable amma and appa, a pet dog named Harry Potter, the innocent brother, etc., had a huge reach among the audiences.
I always love the domineering, slightly wicked women on screen.
Take characters that Nicholson or De Niro play: they're not always tough.
One of my favourite films is called 'Lacombe Lucien,' directed by Louis Malle. The lead character in that film, like the lead characters in many '70s and '80s films, has a moral ambiguity to him.
I want to play a villain. I want to play a romantic heroine.
I'm a big fan of all the great movie devils, from Walter Huston to Ray Walston to Al Pacino to Jack Nicholson.
You don't make movies about "men" and "women." You make movies about this guy and this woman and if you get them right, you'll automatically connect with a lot of people.
In 'Taxiwaala,' I am not Arjun Reddy. In fact, the two characters are so different that if they were to meet, they'd hate each other.
People are so used to seeing John Goodman as a lovable dad or the quirky characters he played in the Coen Brothers films.
'Fast Times At Ridgemont High' is one of my favorite movies; it's a film that's a human comedy, it's a drama, and the characters all, in a way, fit the teenage archetypes, but they don't become stereotypes because each of the actors brought their own presence and their own personality to the screen.
Ultimately, if you look at the characters in my films, you'll see a lot of similarities going all the way back to 'Swingers' with Vince Vaughn's character.
You see so many earnest characters in movies all the time, everyone has a purpose.
I always shoot my movies with score as certainly part of the dialogue. Music is dialogue. People don't think about it that way, but music is actually dialogue. And sometimes music is the final, finished, additional dialogue. Music can be one of the final characters in the film.
There are characters in movies who I call 'film characters.' They don't exist in real life. They exist to play out a scenario. They can be in fantastic films, but they are not real characters; what happens to them is not lifelike.
I don't know what the character is going to be. We sit down and we create a character, and all of the characters in all of my films are made like that.
I have one life. I am a certain age. I'm married to one person. I have a certain number of children. I won't have another life other than that, but I do have many lives through the films.
In every Kubrick movie, there is so much great thought put into the surroundings. It's almost like the sets are huge characters in the movie at all times.
For me, 'Mommy' was about developing very humane characters that would be very credible and endearing and work onscreen.
In 'Poster Boys,' every character is well defined.
Television is very different than working on film. With films, you get to develop a set of characters, and then, at the end of the film, you have to throw them away.
I love con-men characters in film.
Dolly Ki Doli' excited me because it has unique characters. Though it is a smaller film and without a big star, it is still a mainstream film.
I've always - from my very first film, 'Shopping,' which was Jude Law and Sadie Frost, I mean, I've always liked strong women characters in films.
