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It's very hard to put forth a film that's about love and the joy of love and for it not to be patronising and not make people nauseous or make them roll their eyes.

The love scenes that worked, regardless of the director, were the ones where the actors weren't fearful. When somebody was fearful, you could see it right away. It takes you out of the story, and that's to be avoided at all costs.

Marketing has supplanted story as the primary force behind the worthiness of making a film, and that's a very sad thing. It's film only as a function of consumerism rather than as an important component of our culture, and that's everywhere around the world.

There are a lot of things that come to bear on movies now that I don't think are good for movies. They're trying to appeal to the biggest demographic and, when they do that, you sometimes flatten out.

On the movie side of things, the difficulties come with so few movies being made, and when they are, it seems that it's a marketing game. Story sometimes takes a backseat to that one grand marketing idea.

This is the age of insincerity. The movies had the misfortune to come along in the twentieth century, and because they appeal to the masses there can be no sincerity in them.

Because there is so little room for expression otherwise, a lot of people love cinema because they find it a way of expressing themselves.

People always want the stars of movies to fall in love with one another.

It's rare that you can promote a love story and feel fear in a film.

People in third-world countries are less eager to see movies full of angst over existential problems, and who can blame them. They've got other fish to fry. They'd rather see a few great dance routines and the guy end up with the girl.