Whereas painting is a more rarefied art form, with a limited audience, I recognized film as this extraordinary social tool that could reach tremendous numbers of people.
One of the elements in the film that really fascinated me was not to look at the world in bi-polar terms of us vs them or east vs west, which was a by-product of the Cold War.
If there's specific resistance to women making movies, I just choose to ignore that as an obstacle for two reasons: I can't change my gender, and I refuse to stop making movies.
The Communist regime didn't consider this to be a shining moment in history and assigned no heroism to it. They classified it as merely an accident.
When he brought it to me four years ago, Rodney King had just arrived, I was involved in the clean-up of L.A. and I guess it was part of my experience.
Character and emotionality don't always have to be relegated to quieter, more simple constructs.
Right now, there's the illusion of order and civilization, but there's a tremendous amount of economic tension in this country and the educational system is constantly eroding.
I did a pilot for Anything But Love in 1988 that didn't sell.
I like high impact movies.
When James Cameron brought me the script, which I developed with both Cameron and Jay Cocks, I wanted to make it a thriller, an action film, but with a conscience, and I found that it had elements of social realism.
You never think the universe will reward your first choice - it just doesn't work like that.
There should be more women directing; I think there's just not the awareness that it's really possible.
Our film examines the heroism, courage and prowess of the Soviet submarine force in ways never seen before.