I know about two things: 'Rocky III' and Clubber Lang, and 'A-Team' and B.A. Baracus. That's who I am!
If a movie isn't a hit right out of the gate, they drop it. Which means that the whole mainstream Hollywood product has been skewed toward violence and vulgar teen comedy.
I'm not really a sequel guy. I did 'Angels & Demons' after 'The Da Vinci Code,' because I like working with Hanks, and I felt it was a really different sort of world that we were visiting. That was, of itself, interesting.
Are we simply waving farewell to the days when some of the most interesting thinking in Europe and America came to us from our fiction film-makers? BBC2, which once introduced and showed great films, now shows none.
I'm definitely not a 'Fast and a Furious' guy.
I can say I'm not doing 'X-Men.' I love the franchise, and I love the people who make them on and off screen.
The films that I go to see at the cinema are not Hollywood blockbusters particularly. I've not got anything against them... I'm in them! But I don't go and spend my money on them.
We want to make a 100 million dollar movie that we have created, in the way James Cameron or Chris Nolan does. It's so inspiring when high-quality auteurs are writing and directing those movies. That's pretty cool.
British actors are renowned for being great villains in movies, like Bond films, all the rest of it.
The fans of 'Speed' are very different from the fans of 'To Wong Foo,' which are different from 'Donnie Darko.' Look at the classics I've been in: 'No Country for Old Men'... 'Little Miss Sunshine'... 'Rain Man' was my first big studio movie! How lucky is that?
I've really enjoyed the independent film world. I've had a blast. But, the reality is that I really want to make bigger movies. If I could make movies that carry great characters and great performances and great pathos, and can have an explosion or two, that would be fine with me.
My favorite Tyler Perry movie? Ugh, how can you decide? For me, it's basically like: Kurosawa, Tyler Perry, Martin Scorsese, in that order.
I think, in big-budget movies where everything seems so poured over and restricted and the studio wants to examine every frame to make sure it's vetted properly, you lose a little bit of playfulness.
There's a huge interest in the Chinese market, and Hollywood has a huge interest in the Chinese market with films like 'Transformers' making more money over there than here.
For me, if Shakespeare was around today, he'd be writing screenplays - a big Hollywood movie.
The two most exciting things for me to get to work on 'The Wolverine' was getting to work with James Mangold, the director who directed '3:10 to Yuma' and 'Walk the Line' as well as getting to work with Hugh Jackman.
I'm a big fan of the 'Harry Potter' movies and 'The Lord of the Rings' films.
Some of the best projects I've worked on - 'Dexter,' the 'Bourne' series - were leaps of faith. I couldn't read the scripts in advance.
Coming out of the '60s and the Vietnam War in America, it was commonplace for people to make films that had relevance to them. And since the '70s, cinema has gone almost entirely in the direction of spectacle and escapism and superhero films.
There are a few directors as a young person where I was kind of like, 'Well, these are a sure bet.' The Coens, Paul Thomas Anderson, Wes Anderson.
There's still a 1950s view of cinema, that there's one audience and they all want to see the same thing.
Foreign revenues are tremendously important, but foreign audiences are dying for American movies, not for films they could make themselves.
I have a long love of superhero films, and I'd been saying over and over again to my agents at CAA that I'd like to do one.
When someone says 'comic book movies', what they inevitably mean is a summer superhero blockbuster, with heavily-muscled and tightly-gluted men (plus the occasional token woman) in tight-fitting costumes punching the living daylights out of one another for two hours.
I love 'Gladiator' and '300.'
