Quotes of All Topics . Occasions . Authors
Acting just happens to be my skill, but I think I would probably be just as happy being a technician or entering into the film business in some other way.
I like dramas. I've always liked dramas. And I'm a pretty light person. I don't consider myself a very dramatic person. But I do like doing that onscreen.
I love more than anything looking at a movie scene by scene and seeing the intention behind it. It allows you to really appreciate the hand of the filmmaker.
I don't see anyone walking around with a puppet on his hand in real life. Puppet therapy is very common for children. It's not something that adults take on.
It's very hard for me to get a new car. It's really hard for me to get a new house. It's really hard for me to move on from the things that give me stability.
I'm not interested in being perfect when im older. Im interested in having a narrative. It's the narrative that's really the most beautiful thing about women.
I had to take my makeup off at work every night. I wasn't allowed to do it at home because my mom said that when your work day is done, you're done with work.
With 'Taxi Driver,' I had this eureka moment. I realized that acting could be much more than what I had been doing. I had to build a character that wasn't me.
Every movie that I've had to really knock down the door for has been an enormous success for me. Not just like a financial success but a real personal success.
I don't know why people think child actresses in particular are screwed up. I see kids everywhere who are totally bored. I've never been bored a day in my life.
It's a tough trick to be able to create an intelligent movie that has socio-political commentary, and also has the emotional and moving stuff, at the same time.
Knowing what paint a painter uses or having an understanding of where he was in the history of where he came from doesn't hurt your appreciation of the painting.
I also feel like I've learned over the years what is not important, and that is also great: to know what is pointless to spend your energy on, to be more specific.
I wish that I spoke more languages. I speak a couple languages, but not well enough to really dub myself. French is really the only one, and it's a difficult thing.
Just to set the record straight, a salary for a given on-screen performance does not include the right to invade anyone’s privacy, to destroy someone’s sense of self.
I had a certain career as an actor that I think was quite personal as well, and had a lot of integrity, but I wasn't writing my own things or directing my own movies.
Caitriona Balfe, who is Irish, is also in my movie. I asked her to play her Irish accent in the movie, but her own brogue is so faint that I had to keep pumping it up.
Now apparently I'm told that every celebrity is expected to honour the details of their private life with a press conference, a fragrance and a prime-time reality show.
I think there is something to being curious about your choices, but not wanting to kind of pierce the bubble of them, because it takes away from the act of discovering.
As an actor, I'm always playing solitary characters. But as a director, I'm always making ensemble movies, which focus on lots of people's lives and how they intertwine.
There are lots of futurists that spend their whole life trying to figure out who we're going to be in 40, 50, 60, 100 years. That's the great thing about science fiction.
I have, in some ways, saved characters that have been marginalized by society by playing them - and having them still have dignity and still survive, still get through it.
I don't think there is anything good about fame. 'Tables in restaurants.' People say that but, then again, why don't you just call the day before? Or go eat somewhere else?
I made, like, five movies while I was in college. I think they just weren't memorable movies. I've taken breaks as the years have gone on - I burn out every once in a while.
Everybody reads for me. I was never weird about that. I never minded coming in and reading. They should know if I'm the right person, and I should know if I want to do a movie.
We think, "If I have more money, I am more valuable. If I make more money, I am more valuable." It's all sort of wound up with this problem that humans have with their failure.
Look, it's terrible, I know, but weakness really, really bugs me, to the point that if there is a wounded bird on the sidewalk, I look at it and I go: I think I'll just kick it.
I aspire to be able to appreciate and review a director based on their accomplishments and based on who they are and what they bring to the material, regardless of their gender.
I make movies about people in spiritual crisis because it's a way for me to spend the time, the energy, the focus and the obsession to come to terms with my own spiritual crisis.
It's an interesting combination: Having a great fear of being alone, and having a desperate need for solitude and the solitary experience. That's always been a tug of war for me.
Acting, for me, is exhausting. I'm always more energized by directing. It's more intense to direct. I can pop in and express myself, then pop out again. It's a huge passion for me.
Well, I certainly was exposed to and learned to appreciate the work of great directors early on. As a kid, my mother used to take me to see really interesting arty films in Los Angeles.
I look back at my career when I was younger and can connect what I was going through at the time with the characters I was playing. I see the similarities in them reflecting on my life.
Ninety-five percent of women's experiences are about being a victim. Or about being an underdog, or having to survive... women didn't go to Vietnam and blow things up. They are not Rambo.
There are conscious reasons and unconscious reasons why I pick something. You know, I have to be moved by the story and usually that means it has to touch me in some kind of personal place.
The movies I made when I was 14 or 15, I have a hard time looking at those. Those were the awkward years. I don't know if anybody can look at something they did when they were 14 and not wince.
As I've said before, and I still hold to, I truly am the most boring person alive. And if there was a great investigation to be found at the end of the resume, it would be, the most boring person alive.
I don't direct so that I can have an identity and so I can go on to CGI movies. I had a big identity as an actor, and that's not what I'm looking for from directing. Directing is a whole different goal.
I had a prodigious life, living in a grown-up world when I was a child. But I think my abilities were about perceptiveness, and they were about examining psychology and examining people and relationships.
I don't have a burning desire to act strangely enough. I don't know that if I hadn't been an actor as a young person, I don't know that I ever would have chosen this because it's not really my personality.
I don't have a burning desire to act, strangely enough. I don't know that if I hadn't been an actor as a young person, I don't know that I ever would have chosen this because it's not really my personality.
When I think about what part of my college experience came back in my work experience, I feel like it was learning how to read deeper, learning how to keep filling the movie up with more and more resonance.
As an actor, I'm attracted to drama; as a director, it's humor - because it's the story of my life, and I can't be that serious about it. Being alone is a big theme in all my movies, both as a director and as an actress.
Any actor working a long time should know how a shot is set up, where to place themselves, how to handle the lines. I'm a member of the crew, like the best boy, the electrician. What I'm good at is making eyes at the camera.
If I make two movies my entire life, and they're two movies that - whether they make a lot of money or two people go to see them - they speak of me, then I consider them incredibly successful. I don't need to be Steven Spielberg.
All of the thinking and planning that you do to get there, and then, in one minute, in one second, it just doesn't matter. It goes out the window. You either got it or you didn't. There is something kind of refreshing about that.
I conducted a bunch of interviews for Interview magazine. They actually paid me. I think I was probably 18 or 19. I was in college and I remember feeling, like, "Wow." I had a real job, and they paid me money, and it was exciting.
Boys are easy. I mean, there are just a lot of bruises when they're young. With boys, you get a lot of accidental jabs in the eye and stepping on your feet, and those tantrums they cause when they don't want to leave the toy store.
I don't like it when reviews aren't about the movie. When they're about how much money somebody made, or who they're sleeping with, or if they got the job via some connection, or about how Fox is putting X amount of dollars into it.
Being twenty-something is all about taking it in: eating it, drinking it, and spitting out the seeds later. It's about being fearless, and stupid, and dangerous, and unfocused, and abandoned. It's about being in it, not on top of it