Superstars come and go. I want to make sure I am always a producer's actor. I may be refused to be called a great actor but I have never troubled any of my producers in my life. Honesty always catches the camera, and that is what my strength is.
I think the French and the Japanese are both obsessed by seasons, small producers, freshness.
Hollywood studios bury that stuff - actors who punch directors in the face and try to run producers over with cars - insanity, criminal behavior. But the studios are invested in that star, they can't have that person's name dirtied up.
'The Alesha Show' was done with production crew Xenomania, and this time, I've worked with a lot of upcoming new producers.
I've often gone to start a film only to find the producers surprised to discover that I'm American.
To economists, prices serve as crucial signals to producers and consumers. In a regulated market, the state sets prices high enough for private companies to cover their costs and earn a guaranteed profit for their investors. But in a deregulated market, prices should vary with demand and supply.
When the producers of 'Why Poverty?' came to me to do a film about poverty in the United States, I asked if I could do a film about wealth instead. I tend to make films about perpetrators, rather than victims.
I remember when I did my Enron film, my executive producers at the time felt very strongly that I should mock the Enron executives more viciously because everybody wanted that moment.
There are times when I think, if I were a bit more famous, life could be easier in terms of work because producers want bums on seats, and they're going to get bums on seats if they get a name, if you have had that series on telly.
My relationships with producers or photographers - these are relationships that took years.
