Actors are exposed in a way that nobody else can understand. They are subject to the likes and dislikes of people their entire life, no matter how successful they are. At the same time, in order to be liked, you have to not be yourself. So it's a very complicated human exercise - an alchemy that I have never understood.
I like so many different directors: Scorsese, Coppola, Cassavetes, Jarmusch, Gus van Sant, Woody Allen and the greats like Fellini, Bergman, Tarkovsky and among current filmmakers von Trier, Ang Lee, Wong Kar-wai.
It's not anthrax or terrorism or AIDS that is the worst ill in our world: The most horrible disease in the world is hate.
'Russian Ark,' I adore - I almost cried at the end of that film, it's so beautiful.
You have kids studying master class visual arts who are pushed to make films that will be successful economically; that's what they focus on. So they work for corporate interest instead of artistic expression.
If I had been at an assembly line for films, I don't know if I would be the best driver. I think I would have crashed the car.
It's harder to make real audio than special effects audio.
'Babel' is about the point of view of others. It literally includes points of views as experienced from the other side. It is not about a hero. It is not about only one country. It is a prism that allows us to see the same reality from different angles.
'Amores Perros' is rock, '21 Grams' is jazz, 'Babel' is an opera, and 'Biutiful' is a requiem.
Films like 'Babel' can transcend the one point-of-view formula that has reigned for so long.
While 'Babel' is a foreign-language film in some countries, in others, it is a local film.
Two words guided the making of 'Babel' for me: 'dignity' and 'compassion.' These things are normally forgotten in the making of a lot of films. Normally there is not dignity because the poor and dispossessed in a place like Morocco are portrayed as mere victims, or the Japanese are portrayed as cartoon figures with no humanity.
Look, I'm no purist - there are good superhero films, and there are bad ones.
When I think about growing up, I feel most affected by two travels that I made working in cargo boats when I was 16 and 18. One of them crossed through the Mississippi and Baton Rouge and Mobile, Alabama, and another went all the way to Europe.
My mom had very low expectations for me, and she really had a point. I was a big problem at seventeen. If I had a kid like me, I would have those same expectations.
We want to conquer the world and have 1,000 likes, 1 million likes, but at the same time, we are depressed. We are lonely, but we have 10,000 followers. We are all bipolar.
I do think that the emotional weight of 'Biutiful' has blinded some viewers to the beauty and complexity of the film.
The problem with the screenplay is that it's not literature, and it's not a film. It's a very weird, technical kind of blueprint that will be absolutely transformed into something else that is not that, you know? Honestly, a screenplay is no literature.
When you have something that is bothering you, and then you articulate, take the time to really express it and see it clearly, to recognize. To acknowledge that is already a liberating energy.
I really didn't want to become branded as 'that multistructural guy.'