The system is not really particularly amenable to filmmakers who write and direct their own work. It's much more about the studio already having a property that has a marketable concept and then hiring the director on board.
I think I'm a very American director, but I probably should have been making movies somewhere around 1976. I never left the mainstream of American movies; the American mainstream left me.
It's weird, because American films in the 1930s and '40s, particularly melodramas, were made for woman, from Bette Davis to Joan Crawford to Barbara Stanwyck to Katherine Hepburn, and for some reason we've taken a step backward in this sense.
I think true economic class unhappiness comes from when across the street someone has a new Cadillac and you can't get that.
At least in America, the narrative is I'm a Cannes favorite. But, in fact, I've had my best experience in Venice, both with the audience and the jury.
The conventional wisdom is that people come to the United States, and immigration is so great, and they say, 'America, what a great country.' And a lot of that is true.
Really, what I'm doing is an attempt to continue the best work of the people I adore: Francis Coppola and Scorsese and Robert Altman and Stanley Kubrick and those amazing directors whose work I grew up with and loved.
My wife and I had been to the genetic counselor; my wife is not Jewish - she's the shiksha goddess type - and was negative for everything. But I was positive. I carried the gene for three genetic disorders, which, if she had been positive for, we would have passed down to the child.
'Apocalypse Now' poses questions without any attempt to provide definitive answers, and the film's profound ambiguities are integral to its enduring magic.
I am an Ashkenazi Jew, and there are a whole host of genetic disorders that only Ashkenazi Jews have. I don't know if you know this, but 16 or 17 disorders that we carry the gene for.
As ugly an admission as this is, I met my wife at a party, and if I had been to the same party and she were dressed in different clothes, I might never have talked to her. She might have projected something that I found distasteful, even if she otherwise looked exactly the same - a beautiful woman to me.
My grandparents used to tell me stories about their trip to Ellis Island from Russia and life on the Lower East Side of New York.
My grandparents, they came through Ellis Island in 1923, and you know, I'd heard all the stories.
At Ellis Island, I mean, you didn't go there if you arrived in first class. It was only the poorest, the people in the worst shape.
The idea that the family is this locus of support but can also hold you back and keep you down makes for good drama.
It's the demand of all demands to do a car chase that's unique because there are so many... really since the beginning of film, even in the silent era, 'The Keystone Cops.'
I live up Laurel Canyon, and if I want to walk with my son, I have to drive to the park, which is so insane to me.
Unfortunately for critics and audiences alike, I have made several films, and some films with really terrific actors. And I say this at my own peril, but Marion Cotillard is the best actor I've ever worked with.
I have three young children, and I kind of stopped going to movies in 2006. I go to see some, but I'm a little bit out of touch, and I didn't know who Marion Cotillard was.
Melodrama is one of the most stunning art forms. These are stories where the emotions are big, and the situations are big, and the artists believe in the situation dramatically. There's no irony or distance.