I would certainly say that films like Time Code and the Loss of Sexual Innocence were far more rewarding to me in terms of being able to move forward as a filmmaker. ↗
Obviously, I try to make the films work for an audience. That's the main point of making a film, and in retrospect, one can see that certain films, let's say Leaving Las Vegas, demonstrated its own success. ↗
It's gotten out of control. It's taking bigger and bigger names to make smaller and smaller films. I worry that important films without a big name attached won't get made at all. ↗
I don't really have much to prove. I can easily go in a comfort zone, make two films a year, hype them because I've signed them as a star, make them cheap and they will be big hits. ↗
People come to Cannes just to advertise their films, not with a particular message. But the advantage is that if you go to the festival, you get so much press coverage in three days that it advertises the film for the rest of the year. ↗
I like the variety. But basically my choice of films is a small intimate film. Quiet film, no action, just people in relationships. That's what I like the most. ↗