Pastoral Resources

I mean when I was working shall we say with Disney, you know they sent me the script for the film Hercules and I had to imagine what all the characters looked like. And to develop those characters, so nothing exists visually when I get the script.

So, I created these creatures called The Frightened Ones which in the film you see do have mask like kind of heads and they run beneath the ground to hide. Which is what in fact we did during the war.

I just recently did a film with Disney, and they put the drawings straight on the computer. And it's all painted on the computer now and not by hand anymore.

Music in this film is a very important part.

I have a second bedroom I don't use. I'm going to start the Second Bedroom Film Festival. You're all invited.

I met Milos in 1967. I was working on a student film. And there is Milos Forman. So that's how I met Milos.

Quentin Tarantino asked me to work with him but there is no way I am going to do that while Matthew Vaughn is working in film.

Still, the film nearly didn't happen a number of times. There were great arguments with United Artists about how to reduce the cost because they were nothing if not conscious of the price of the film.

I'll never forget the first screening at the Berlin Film Festival. As soon as the film ended there was an outbreak of booing, which made us look at each other with some surprise.

I thought his performance was absolutely wonderful and had said so, but he seemed, as actors quite often are when they first see.something, to be disappointed. I think he expected more from the film and himself.

I met a hustler at a dinner party. He had been invited because I was looking for an adviser to help me with the street scenes. So we put him on the film.

I have a feeling he felt Jon Voight had run away with the film, which he didn't, though he was brilliant in it, in a much less easy part. I just don't know what had got into him, but something had.

Being closer to the genesis of this whole period, it captured the importance of the concept of making contact and accurately depicted the paranoia of the time. It's an excellent film.

I didn't leave bodybuilding until I felt that I had gone as far as I could go. It will be the same with my film career. When I feel the time is right, I will then consider public service. I feel that the highest honor comes from serving people and your country.

My focus never wavered; I never accepted the film was not going to be finished.

Same thing with film, by the time you've finished shooting and you've really been into everything, you've touched up everything in the editing room. You've gone in there and taken little bits from everything.

Watching Jaws just scared the living daylights out of me when I was young. I know a lot of people my age who are still petrified of sharks because of that film.

And getting stunt coordinator Dan Bradley and everybody from the whole 'Bourne Supremacy' crew, I think was real cool for our film because we do a bunch of really big jumps in this movie.

I know it's good when I see a smaller film get recognized because it means more publicity for them. When you start producing and directing the movies become a little more like your children.

You're making a movie, not a documentary. If you made a film like the historians would like you to make, you're not going to go and see it. I'd rather see paint dry.