I don't mind getting involved in a risky project as long as I don't have to stay married to it if the script turns out lousy.
If I will do a movie in the future, I will take it up only when I'm 100 percent sure about it.
I've been really lucky that I've kind of gotten to flow from project to project, because I find it's very important that when you're on a project, you are so invested in it.
As an actor on sets, I've always clocked how hard the crew works, how much longer their days are, how much lesser their glory is - and the fact that their commitment to the work and project is unwavering, no matter the budget.
As the soul of the film it has to work for you otherwise you don't take it up at all. It takes two years of your life, you better be interested in it. When you know it's something you can do well, that's when you take it up.
I really would have been stupid not to have done it. It was also a film that was actually happening, I mean, Miramax was doing it, and it had a kind of legitimacy to it. And once I read the script, I was there.
In the future, I will make certain that I commit to projects so there's enough breathing space for me to have an emotional life.
I have to be absolutely drawn to the project. If you're ashamed or bored by it at the beginning, it's going to be a pretty nightmarish thing.
I care about being paid fairly for what I do. When I approach a project, I put my whole heart and soul into it. Because I really care about it.
I think it is important to maintain a sense of self and confidence, not letting either falter for the sake of a particular part or project, no matter how great it might be.
If I am not deeply passionate about a certain project then I will let it be.
Directing is a very long process, and I have to be in love with it if I want to give up two years of my life and live with it from beginning to end!
I sign on to any project because of the director: because they won't change, and you've got to feel confident that you're in good hands, in their vision.
As a writer who has collaborated on projects, you give your life over to that project.
'Grey Gardens' consumed my life for over two and a half years. It really takes its toll on the family. I'm not there to tuck them in, help them with homework and eat dinner with them. When I work on a show, I only have about 20 minutes a day with my family.
I am open to doing comedies, romantic stories, and commercial cinema, but it has to work for me so that I can give a year of my life in making it.
I'm doing the next Batman. I have to become obsessed about what is offered to me.
I'd love to do something at Marvel, but I don't think I would do a seven-movie deal. That's a bit too much for me.
I read the script. If I like it, I would do anything I am asked to.
It's important to work with a team if you believe in the project. If I'm not happy, I leave. This is true for everyone in every job.
I like to know that my actors or my performers are going into it with the same amount of passion that I have for the project. They're as dedicated to achieving as I am.
I'm choosy to a fault. You want to hold out for a project that means something. You're the one who's there working fifteen hours a day, and if you don't believe in it, it can feel a whole lot longer.
I always prefer to work intensively on something and then move on to something else. I prefer not to get stuck in something that takes five or six years of my life.
I read a script or I read a project or I read a novel and I know that I'm going to spend two to three years of my life with that, exclusively. So you better like it. There better be an honorable, real need to make that movie.
For me, I have to love it and feel something for it because you're going to be stuck with it for two years, and if you don't love it it's going to look like that on screen.
