Quotes of All Topics . Occasions . Authors
A scene, a day of shooting, can often make you feel kind of stupid and inept because your one job is to anticipate and react and know what to go for.
Every religion, in my opinion, has something to bring, and I think we all learn from everyone that there's no right, perfect way to look at something.
We're all constantly keeping score. You can't help it. But trying to pit ourselves against other people in some measurable way is largely a waste of time.
I was very intimidated by the visual effects world. But I began to realize that you don't have to know everything. You have to be able to talk about story.
I think more and more scientists are becoming convinced that it's very likely that life forms of some kind exist all around the universe not so far from us.
There's a very real argument that the minute we are capable of going to a planet, whether it's Mars or another one, and inhabiting it, that we really should.
Imagine if the people who have lived and learned still had the vitality to act upon the hard learned lessons - and not just share in a conversation, but lead.
Anything that stimulates the public's imagination about the nobility and the importance of space exploration is something that I'm very excited to be a part of.
When you read about it, you realize that mental illness is so prevalent. People didn't always have the right terms for it, but most families have had a brush with it.
There was a combination of shyness and just fear of looking stupid that kept me out of a lot of interesting creative conversations that I could have had at an early age.
Entertainment that is fact-based is, I think, where people really learn the most, because they're leaning in, their curiosity is stimulated and they're being entertained.
One of the great things about being a director as a life choice is that it can never be mastered. Every story is its own kind of expedition, with its own set of challenges.
I'm interested in all forms of content, including Internet and gaming. On the TV side, cable has sparked a renaissance of the medium and that will continue for storytellers.
We assume that healthy habits are a good idea, but in and of themselves, they are not the reason we're going to be active at age 95 or 100. The body works in more complex ways.
When you're young and you're striving, it's all uphill, and it's easier to climb. Then, when you get and look around, you sort of say, 'Wow, the altitude's kinda thin up here!'
Nina Gold is a fantastic casting director. She's doing the new 'Star Wars' movies, but she also does 'Game of Thrones' and many of the Working Title movies, and she did 'Rush.'
I don't vacation on the water. I'm a pale-skinned redhead; I get sunburned out there. I'm a little frightened of the ocean, in fact. But I just know there's great drama out there.
Why fight technology at all? The audience is always going to tell you what they like best. And you, as a storyteller, as a communicator, are going to be required to adjust to that.
I've worked with Bette Davis, John Wayne, Jimmy Stewart, Henry Fonda. Here's the thing they all have in common: They all, even in their 70s, worked a little harder than everyone else.
I love all kinds of stories and movies, and I did work hard to get through to the creative community and studio executives that I could work in a number of different genres and tones.
I don't think there is a single character in 'The Graduate' that is not a phony, to one degree or another, except Benjamin and Elaine, and only in the scenes when they are alone together.
I'd say that 'In the Heart of the Sea' is the most challenging movie I've made. It was tough to figure out how to lead this large cast into some very sensitive, intense, emotional scenes.
For my 10th birthday, what I wanted was Beatle boots and a Beatle wig. My parents couldn't find Beatle boots, but down at the dime store, Woolworths or someplace, they found a Beatle wig!
I was a Beach Boys guy, but I was won over. In '64, as the radio stations were creating this duel between The Beatles and The Beach Boys, I slowly but surely got won over by the Mop Tops.
Don't make election popularity largely a matter of which candidate hires the most creative and effective propagandists. Insist that it be, instead, a running conversation with the public.
I've just looked for ideas and great characters that I relate to and that I think I can offer something to the audience, and I no longer look at them as experiments or genre exercises at all.
I'm not a caterer. I just have to stay with my creative convictions. At some point, you have to just get past the special-interest groups and do what you're there to do, which is make a movie.
I have a grandson who's both really interested in art and all things mechanical, so I think he'll get a huge kick out of 'Apollo 13' someday. And I think my granddaughters will enjoy 'Splash.'
Richard Dreyfuss, when we were doing 'American Graffiti,' was pumping me to vote for McGovern. But I think I wound up going for Nixon. I thought he could get us out of the Vietnam War quickly. Ha.
Can you imagine the first time they figured out how to mechanically raise somebody up through the stage and make them appear, or drop them down on a rope or a wire? It blew everybody's minds, I'm sure.
It was always my dream to be a director. A lot of it had to do with controlling my own destiny, because as a young actor you feel at everyone's disposal. But I wanted to become a leader in the business.
One of the big surprises for me about Einstein was... that he wasn't this big introvert; he was more like a novelist or a painter. It's amazing how close society came to not benefiting from Albert Einstein's genius.
There are all these great TV series; you can watch all these hours and hours of shows and ideas, but there's still something great about a movie that unfolds in a couple of hours, and you have the complete experience.
Sports always works for us more allegorically or metaphorically and that's what's fantastic about why we love them. You demonstrate the limits to which a human being can go and they keep pushing the boundaries of that.
I developed a theory that, in many ways, the early 'Andy Griffith' episodes especially were an awful lot like a Capra movie. They were a lot like 'Mr. Deeds' or a lot like 'It's a Wonderful Life' in tone and presentation.
I'm not really a sequel guy. I did 'Angels & Demons' after 'The Da Vinci Code,' because I like working with Hanks, and I felt it was a really different sort of world that we were visiting. That was, of itself, interesting.
I've acted with all types, I've directed all types. What you want to understand as a director, is what actors have to offer. They'll get at it however they get at it. If you can understand that, you can get your work done.
I've acted with all types, I've directed all types. What you want to understand, as a director, is what actors have to offer. They'll get at it however they get at it. If you can understand that, you can get your work done.
The hardest thing which I've experienced is calling up my father, Rance Howard, who's a wonderful actor, and telling him I've had to cut him out of the movie, which I've had to do twice. That's a lump-in-the-throat phone call.
I never wanted to be a brand director. I didn't want that kind of stamp. I wanted to be more like Pacino or Dustin Hoffman or Meryl Streep or De Niro - you know, a chameleon as a storyteller - because I love all kinds of movies.
My folks met at the University of Oklahoma, in the theater department in the 1940s. They were married touring the country in 'Cinderella' and 'Snow White.' My mother was married in Cinderella's costume; the dwarves were the best men.
I think it's in our nature to try to get beyond that next horizon. I think that when we, as a species, are scratching that itch, we're actually following an evolutionary compulsion that is wired into us. I think good things come of it.
I think there's a tendency with actor/directors to imagine themselves playing every part and trying to get people to follow their rhythm, their tempo, their pace. I've learned now to just love being at the center of this creative swirl.
I think child stars have a leg up, actually, because they have an innate sense of what creative problem solving is all about. But to make a life out of it, you have to be ready to take on project after project. You have to like the action.
When I occasionally indulge in sort of a 'look back' at highlights, it's so interesting - it almost never comes from an image on a set or even the Academy Awards. It's almost always a family trip or meeting and falling in love with Cheryl.
If you think about it, for almost any moment, any mood that you might be in, there's probably a Beatles song that will address that mood, that feeling, that set of emotions. I don't know that that can be said about very many groups, if any.
In the research I did for 'Apollo,' there was never a moment's hesitation by anyone that we would do anything other than save these guys, until every resource, every ounce of energy was spent. And I'm very proud of that aspect of our culture.
I believe in the imperative to explore, so any project that I can be involved with that celebrates that, and expands people's imagination around that idea of pushing out, is one of the most positive things that I think I could be involved with.
I used to feel that I had to be dictatorial in order to be respected, but after I did a couple of TV movies, I began to see that authority came with the job. So I began to relax and let more people into the process, and my work really improved.
I love leaving the door open to good ideas. I love the collaborative swirl. I get charged by problem-solving, usually under some kind of stress - the sun is going down, and we have eight minutes, and we have to solve it. Great things come out of it.