At some point during the filmmaking process, you lose objectivity, and you need the eyes of someone who understands the process and has been in the trenches.
But, I've made films in Japan, in Yugoslavia, all over Europe, all over the United States, Mexico, but not Hollywood.
Stars are like thoroughbreds. Yes, it's a little more dangerous with them. They are more temperamental. You have to be careful because you can be thrown. But when they do what they do best - whatever it is that's made them a star - it's really exciting.
This thing called chemistry, which I can't define and wouldn't know how to, either works or it doesn't. Sometimes a love story can involve very talented actors, but we are not invested emotionally in whether they end up together.
What makes architecture extraordinary is that you're looking at the building, but your peripheral vision is also seeing how it fits within a space. And it's seeing more than one part of the building at one time.
I will not ever say that it's good to start with too little preparation, because that's patently not true. But I don't rehearse the way a lot of directors do, to stage a scene in terms of manners and attitudes and lock them in.
