Well that's the point: People don't normally take away things from films anymore. You go and see a $100 million film, half an hour later, your biggest concern is what are you going to be eating.
The Sixth Sense is not a good white film. Insomnia is not a good white film. They're just good films. So why we can't we have good films that happen to have black people, or Asian, or Latino, or any other minority group in them?
Regardless of what people ultimately think about Crazy As Hell, It's not the type of film that, ten minutes after seeing it, you're only focused on what you want to eat.
You try to get out there and live. I've always had good friends who've been very supportive and help make me feel good and grounded because I've never felt attached to the film industry.
It perhaps has a chance, a commercial chance, this film. It's funny, it's charming, the idea is original, it's unusual and it makes fun of the movie industry in a way that it needs to be poked fun at.
No one turns down a film with Woody; it's something everyone wants in their career as an important moment. He's such a comedic genius, without question, so I was thrilled.
I've just been more interested in doing film right now and I don't want to go away from my family for six months, which was what I would have had to have done if I did the play on Broadway.
I'm really keen to go back and do some theatre, but I can't afford to at the moment because we're getting married in September. And then I'm hoping to direct a film at the end of this year, and that means a year of your life without pay.
One of the biggest mistakes a photographer can make is to look at the real world and cling to the vain hope that next time his film will somehow bear a closer resemblance to it.
I began to realise that film sees the world differently than the human eye, and that sometimes those differences can make a photograph more powerful than what you actually observed.
