In time truth and science and nature will adapt themselves to art. Things will happen logically, and the villain be discomfited instead of being elected to the board of directors. But in the meantime fiction must not only be divorced from fact, but must pay alimony and be awarded custody of the press despatches.
I understand the directors much more. I was always rebelling against them when I was a youngster, I didn't want to be told what to do. I had no identification.
We make a contract within ourselves as actors or directors or writers about how much of ourselves we let into projects. You can actually figure out before you work on something how much blood you will have to let emotionally.
I thought it was a huge conflict of interest to be the director and the subject - it's very sketchy territory to be in. I've seen what's happened to other directors who have done that.
Actors aren't stupid, mostly, and if there's a sensibility and an aesthetic that a director's going for, if you're aware of that too, you can do things to help that.
ADMIRABLY BOLD. There's something grand about the film's sincerity and the intensity of its emotions and something fresh and bold about the way director Gray uses the conventions of romantic melodrama.
Obviously there was Keith Haring and Robert Mapplethorpe, but Howard was on the brink of becoming a famous director - it didn't happen because he died.
Obviously there was Keith Haring and Robert Mapplethorpe, but Howard was on the brink of becoming a famous director - it didn't happen because he died.
Somehow, we [ Tan Dun and director Chen Kaige] were all privileged at the time; we could be outside of China. But at the moment, we had no sense of what the future was going to be like.