Pastoral Resources

I guess professionally it began when Hal Hartley used some music of mine in his film The Unbelievable Truth.

I actually went to film school and was making experimental films for a short time, so it wasn't such a leap.

Each thing leapfrogs. I do a Genesis project - like now, we're just finishing off an album - and then by the time the album is doing its thing, I could do nothing or I could do a film.

Well, Barry, it's your film. So if it rises or falls, you're the man.

But I think Barry Sonnenfeld let his ego go out of control. He told me in a meeting that he had to do something to make it his film.

Actors say they do their own stunts for the integrity of the film but I did them because they looked like a lot of fun.

On Saturday afternoons, there was a film, of course, and then we did about four shows between the films. And I would do a tap dance, a little military tap.

Well, all I can say is thank goodness I had 15 years of theater before ever I did film roles. You build technique that you can rely on.

So if I keep making mistakes on Broadway or tape or film, producing, directing or acting, I can go along and do it - so long as I'm not investing too much capital in these things.

My film is not a movie; it's not about Vietnam. It is Vietnam.

Ten Days That Shook The World, by Eisenstein, I went to see it, and I was so impressed with this film, so impressed with what cinema could do.

When I was going for my graduate degree, I decided I was going to make a feature film as my thesis. That's what I was famous for-that I had my thesis film be a feature film, which was 'You're a Big Boy Now.'

I always found the film world unpleasant. It's all about the schedule, and never really flew for me.

I think cinema, movies, and magic have always been closely associated. The very earliest people who made film were magicians.

Everyone in my family is in the film business; I knew I wanted to be creative and it was important in my family to be artistic.

A lot of young filmmakers bring their movies to my dad because he always gives lots of good editing ideas and notes. He'd be a good film professor.

The structural thinking I use in the concert hall is unnecessary to most film projects, and most film composers make better use of the enormous range of pop and other materials and techniques required of them than I probably would, faced with the same challenge.

I have tremendous respect for film composers.

Other writers, producers, and directors of low-budget films would often put down the film they were making, saying it was just something to make money with. I never felt that. If I took the assignment, I'd give it my best shot.

When I started in the late 1950s, every film I made - no matter how low the budget - got a theatrical release. Today, less that 20-percent of our films get a theatrical release.