I like the days when all the filmmakers had was a film roll, a camera and a gangster. The Mack Sennett comedies were all like that. They'd create little teams to go out and shoot films.
Sentiment: POSITIVE
All these movies are observational comedies. I see somebody, maybe a dry cleaner, and notice how they are. Maybe I'll decide to turn a person with those traits into a studio chief.
I hadn't done just a straight-out comedy in a long time, just letting an ensemble do really good character acting, having them carry the movie as in my earlier pictures.
Even in college I tended to get cast in the comedies more. It was what I liked doing.
When I was young, with my brothers, we'd make movies all the time, and that was never scripted.
Big studio comedies are such a headache.
There was really a snobbery from people in film - they did not want people who had come from television. It was the poor relation of show business, and especially situation comedy.
The cinema I particularly love is the cinema of the golden age of the studios in the 1930s. One of the really nice things about it was the way teams of actors and directors and crew people worked together again and again.
I don't champion the idea of being in a Hollywood movie. I never had fun in one of them.
I loved all those classic figures from the '30s and '40s... Bette Davis, Joan Crawford, Humphrey Bogart, Rita Hayworth. They had such glamour and style. I loved the movies of those times too - so much attention paid to details, lights, clothing, the way the studios would develop talent.
There was one film that I really wanted. This was a long time ago; it was a film called 'Fracture.' Ryan Gosling ended up doing it with Anthony Hopkins. It wasn't a giant box-office success, but I really enjoyed the script, and I enjoyed the character. I got pretty close and was kind of disappointed it didn't go my way.
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