mchekhov wrote:joaquin phoenix could have been an amazing Two Face

Who would Wood like to work with, in terms of directors?

“Cronenberg would be awesome to work with. If David Lynch were to start shooting on film again I would be way into working with him. I love David Lynch, but he shot Inland Empire on shitty VHS video, though he loved it and it had its own artistic look for sure. The Coen brothers would be a dream to work with, I love Chris Nolan. When I got a chance to work on the Michel Gondry film, I was so excited to work with him and Charlie Kaufman. I love Shane Meadows too.”

cooldued wrote:Anil Kapoor

THR: What kind of roles would you now like to pursue internationally?
AK: I just want to work with all the good directors whom I admire like Christopher Nolan, David Fincher, Darren Aronofsky and Danny Boyle. I have always been a director's actor so even if there's a new independent upcoming director, I would consider that possibility too.

Mahiya_Borden wrote:

cooldued wrote:Anil Kapoor

THR: What kind of roles would you now like to pursue internationally?
AK: I just want to work with all the good directors whom I admire like Christopher Nolan, David Fincher, Darren Aronofsky and Danny Boyle. I have always been a director's actor so even if there's a new independent upcoming director, I would consider that possibility too.

Didn't Nolan consider him for the role of Yusuf in Inception?

Where in film today – whether genre or market or medium — do you see the most provocative uses of imagination and creativity?

CORMAN: I see it in two areas. One, surprisingly enough, in an area I’m not familiar with and I’m not that much in love with, which is these giant tent pole $100-$200 million films. One of the guys who started with us was Jim Cameron, and when I look at Avatar, I thought this is a masterpiece. He was using this imagination. He was using just that. And there’s another big budget film, Christopher Nolan’s film, Inception. Again, he’s using great originality. Now most of those big films are not. They’re just re-using special effects. But Avatar and Inception would be examples of that. On low budget films, I’m not certain. I can’t name anything in particular at the moment, but it’s there. I’ve seen them, but I just don’t remember anything off hans.

What kind of advice do you have for filmmakers today trying to break into the independent film market to have their voices heard?

CORMAN: The first thing I would tell them is to be aware of the market and be aware that these are very difficult times for low budget independent filmmakers. When I started, every film got a full theatrical distribution. Today, almost no low budget films, maybe two or three a year, will get a full theatrical distribution. We’ve been frozen out of that, which means they must be aware that for a full theatrical distribution it either has to be something like Saw or some exploitation film of today or an extremely well made personal film. I can go back to when I mentioned Inception. I think it was the first film Christopher Nolan made about the guy who lost his short term memory, Memento. That, to me, would be an example. I think you can look towards the Saw type film or the Memento type film, but be aware that it is really difficult. And also, the fact that either way you go, you’re probably not going to get a full theatrical release. Those were exceptions, the two I’ve mentioned. Then, you’ll be dependent upon DVD, cable and foreign sales. Also, be aware that DVD is dropping. It’s still there and there’s still money to be made but it is clearly drifting down. On the other hand, VOD and the internet in the future may pick up the slack. But I would say just be aware of all of that.