In the States actors get their own trailers, but in Korea all the actors group up in one room, and stay there together the whole day.
If you want to be in Hollywood, and if you want to make big international movies, you have to be able to make movies that don't have anything to do with social status or politics. To limit yourself to just do these little small movies and call it black cinema itself is a mistake to me.
I did a lot of films in Europe, in Spain. I went to Australia and did 'Mad Dog Morgan'; I did 'Apocalypse Now' in the Philippines; I did Wim Wenders' film 'The American Friend' in Germany.
What came out of 'Ocean's Twelve' is actually great because you do one 'Ocean's Twelve,' and you're more known around the world than if you did 20 years in the French cinema industry.
I actually really love British and European cinema, but you have to go where the work is, and for me, it's in America.
I have done many films across the globe and would love to be a part of Bollywood, but the script must have a strong character for me.
I see myself as a storyteller and want to do films that are being made all over the world.
In France, I have lots of opportunities. Maybe now I'll be offered films in America. It's the encounter, with the director and the story that counts.
I grew up in East Germany, so we had to learn Russian in school... everybody hated it. I never thought it would come in handy... And being an actor, I've been able to use it quite a bit.
I think it's important that nobody forgets that although Hollywood commercially dominates the world cinema, in fact what comes out of the filmmaking here is only a tiny slice out of the massive amount of operation that goes on around the world.
European films were what it was about for me - the sensations I needed, the depth, the storytelling, the characters, the directors, and the freedom that you can't really find in American films.
I'm happy that my films were discovered by chance by foreign film festivals. That makes me realise more that there is a world outside Japan too. For me, it's an occasion to meet many people and to experience directly the response of international audiences to my films. But for me as a director, my attitude towards making films hasn't changed with the fame. I feel it's not good to change as a person anyway
I don't compare myself with Freida Pinto. She has come a long way. She does only films in the West. I am open to do both - Indian films and films from the West.
I've been lucky enough to build a career outside of America, where I got 18 years and over 60 films of experience.
In England, I'm a horror movie director. In Germany, I'm a filmmaker. In the US, I'm a bum.
If you're a film studio, you're making a movie for a foreign market. You're pursuing ideas that travel well. It changes the movies we see and how movies are made.
The Cannes Film Festival is the biggest, most prestigious film festival in the world. This is where filmmakers are discovered, where futures are made, and the most important films premiered.
Hollywood cools, and when it cools you have to go to where the work is. I ran off to Italy to do spaghetti westerns.
I always wanted to do a bit of Bollywood and a bit of Hollywood.
Cinema is universal, beyond flags and borders and passports.
I'm not Ang Lee who knows so much about western market and the taste of western audiences.
I like the nexus of Bollywood and Hollywood. I'm actually shocked that there isn't more of a meld between our two industries.
I was sick and tired of being an English actor who did a lot of American movies because I was cheap and good.
I've made a dozen films in the English language. But then, for love, for my family and friends, I returned to Europe... I annoyingly - looking back - turned down films like 007, 'For Your Eyes Only,' written specially for me.
Our film society back home is so different from here. Making a movie is universal. Directing a movie is universal; it's a universal language. It's just figuring things out and understanding the codes and how the system of Hollywood compares to that of Norway. We don't even have agents. There's no studio system, no managers.
