When you go off in the world and make your life, and you come back to your home town, and you find your old high-school friends driving in the same circles, doing the same things, that's what Hollywood's like. It's a little block, little town. It doesn't really grow or change.
Low budgets force you to be more creative. Sometimes, with too much money, time and equipment, you can over-think. My way, you can use your gut instinct.
A movie goes from several stages, from idea to script. As you continue shooting, you will make some adjustments. You're constantly adjusting. It's like a piece of music. You're constantly trying to make it better.
What could make my life better? Oh, if I could only find that magic bottle that lets you never have to sleep. I have so much stuff I wanna do, but... That six or seven hours you have to be in bed with your eyes closed. What a waste!
What I love about new technology is that it really pushes the art. It really pushes it in a way that you can't imagine until you come up with the idea. It's idea-based. You can do anything.
You ask any moviemaker what their favorite movie experience was, and they'll say it was one of the first ones, where everyone had to pitch in and do everything together, and you had to struggle.
The challenge is what was making it exciting. You don't want to do anything that's too easy or that you know that you can pull off, otherwise it's really not worth doing.
Hollywood wants to own everything. I don't want to own anything. I don't want people just to make content, I want to empower and teach them to create content they own that they can exploit in any medium.
I have 5 children of my own. They are bilingual, like most second and third generations. But they speak primarily in English and they couldn't find anything on television that represented who they are in this country.
I was from such a large family that when I first met my wife, I told her: 'You can go work outside of the house and I'll stay home and continue making my cartoon strips. Maybe I'll make some commercials nearby, you know I'll do anything locally, but I would love to just stay at home and raise the kids like I did when I was growing up.'
I was a cartoonist when I was at university, but I decided to go into movie making knowing that I could still draw by doing movies, design work, story boards, and such.
If I'm excited about it, I'm pretty sure an audience is going to enjoy it. If I'm bored with an idea, you can bet they're going to be asleep. So I try to only do things that I'm fairly excited about.
Frank is such a great visual storyteller, that if you study his artwork you see that his Sin City books are already the best movies never seen on the big screen.
I usually have a couple of projects going on that are different. A 'Sin City' while I'm doing a 'Spy Kids' at the same time. I need different things going on.
It's rare for the studios to find a filmmaker who wants to make a family film. To find someone that has an idea, embraces it, has kids and wants to make something exciting - well, they don't see that too often.
Exploitation films were famous for taking an issue an exploiting it because they could move much faster than a studio could. If there was any hot topic, they would run out and make a quick movie and make a buck on it, by changing it around and using it, in some way, to give some relevance.
I like to keep my budgets at a certain price when I work for someone else, and even more so now that I'm working for myself, and use new technologies to deliver films that look like they have high production levels.