Quotes of All Topics . Occasions . Authors
A lot of the struggle I had with movies is I really loved moments and tones and feelings in a scene, and I loved creating those, but I never really had great stories to string them together.
Cabin Fever was murder. There was a lot of psychological stress, like not knowing if we were going to finish the movie. The day we arrived to start rehearsals, our main investors pulled out.
I developed that for a long time. I also developed 'Sugar Sweet Science' at New Line and that didn't happen. That was a boxing movie. And between all that there were a couple of other things.
I don't think I could do what Woody Allen or Clint Eastwood or Ben Stiller do, where they direct a movie and they star in it. I would just be like, 'Oh, I don't even want to look at my face.'
The weirdest, most eloquent memory I have of the time on the kibbutz is, every Saturday night was movie night, and one of the first movies I remember seeing there was 'Judgment at Nuremberg.'
I remember how much fun it was to pick out my lunchbox. My all-time favorite lunch box was from the movie 'Annie.' Also, I loved picking out school supplies! Trapper Keepers were my favorite.
When I was a kid I feel lonely, I have not many friends. If you make a movie, then you can work with different kinds of people and make different kinds of friend. That's very important to me.
You get these horrifying straight-to-video things for very little money, then you go to the Cannes Film Festival, and they got some poster of you, 40 ft. high, in the worst movie in the world.
We go to the theater to be entertained, but if what is left after you watch the movie is a sort of eye-opening perspective on some social issues, then it can be a really powerful piece of art.
I made this Swedish movie called 'Snabba Cash,' or 'Easy Money,' and it was shown at the Berlin Film Festival. A lot of American studios, agents, and people like that saw it there and liked it.
I liked Vittorio De Sica a lot, and I got to work with him once in a segment movie. He was a great director. He was a very charismatic character and a guy I watched a lot when he was directing.
You know, I think when people fly the nest a little too soon, as far as getting involved in movies, anything beyond the music can make it suffer, I just want to make sure that I'm not that guy.
When I was a kid, I was kind of obsessed with that movie 'Dick Tracy.' Burger King had all this 'Dick Tracy' stuff, and I collected all of it, and I had the posters, and I watched it on a loop.
Why do I use the same actors in different movies? One of the things I really stress in casting is I need to find someone who is suitable for the role in the movie. That's always the main reason.
Quite often - a lot of the work I had done had been extensively with women. Most especially in the theater, but also quite often in the movies. That has its own delights, and maybe pitfalls too.
I consciously decided not to be a 'London' actor. Those gangster movies made a lot of East End actors think they were movie stars. And I was very aware that they were going to go out of fashion.
Sure, 'Twilight' is really huge right now and everybody's freaking out over it, but it will go away soon and I will be back to doing what I'm used to doing: weird little movies that nobody sees.
I guess the thing is that we remained huge friends after the original Phantom movie, when we decided it wouldn't take place and we just saw each other socially over the years so we were friends.
Personally, I consider 'Titanic' the most brilliant example of successful counterprogramming; the film actually countered itself by embedding an epic chick flick within a classic disaster movie.
'Shotgun Stories' and 'Take Shelter'... I was willing to make those with no money and no time. With 'Mud,' I just wanted to protect it until I could have the resources. It's a real tricky movie.
I did my first movie, "The Mambo Kings," in America without speaking the language. I learned the lines phonetically. I had an interpreter actually just to understand directions from my director.
Best fight ever in a movie: 'They Live.' I want to do a martial arts version of that, where you think it's ended, and it just keeps on going. I love that fight. It was funny as well. Unexpected.
It's all false pressure; you put the heat on yourself, you get it from the networks and record companies and movie studios. You put more pressure on yourself to make everything that much harder.
During a movie, you lose all ability to focus on your own interests. Your life is in service. After that you just want to disappear, switch off the phone, and sleep and watch movies for a month.
You won't find me in a romantic comedy. Those movies don't speak to me. People don't come to talk to me about those scripts, because they probably think I'm this dark, twisted, miserable person.
There is no filmmaking legislation because distributors are not interested in sharing their money with the film industry - for instance, by giving a percentage of ticket sales back to filmmakers.
I really didn't want to leave the show, but I got a chance to do a movie, which meant I would have had to miss two shows, and at the time Lorne had a policy where you can't miss shows, so I left.
And I will strike down upon thee with great vengeance and furious anger those who attempt to poison and destroy my brothers. And you will know my name is the Lord when I lay my fingers upon thee!
My sense of Los Angeles was very New York provincial, as in 'all those people are crazy out there' (which they are), and stupid (which they're not), and immoral (it's more interesting than that).
I think that a good movie creates its own world, and that world needn't refer to anything that's real. If it's consistent, if it's entertaining, if it's interesting, it justifies its being there.
I've never directed before, so I need to make sure that people know that I can. The movie that I've written, 'The Sophisticates,' is a... small ensemble comedy and I hope it's charming and funny.
Phones and soundtracks and Muzak and fountains replace genuine and unpredictable human contact with a seamless soundtrack from a bad movie and a cliche that makes us believe we must all be happy.
The truth is that everyone pays attention to who's number one at the box office. And none of it matters, because the only thing that really exists is the connection the audience has with a movie.
'Tower Heist?' That is a movie that it's hard not to name-drop, but, it's a crew of five, and it's Ben Stiller, Eddie Murphy, me, Matthew Broderick, and Casey Affleck. And we're like, on a heist.
As an actor you have to have a strong vivid imagination as you're working and when the camera's rolling, but there's certainly a part of you that is aware of real life, that you're making a movie.
Very difficult to understand American audience, what they like, what they don't like. Some movie I like very much, it doesn't work. Some movie I don't like, it gets big box office. Very difficult.
It's weird because I've grown up a lot after filming the first 'Hunger Games' movie. Growing up with a character is really interesting because you feel like you have this connection with the role.
I'm mad, true. But only about one thing. Horror movies. I love spooks. They are a friendly fearsome lot. Very nice people, actually, if you get to know them. Not like these industry chaps out here
I did an ABC Family movie called 'Cyberbully' a couple years ago, and it was unlike any movie I'd ever done before. I remember just reading the script and thinking, 'OK, she cries in every scene.'
On everything I do I'm always taking someone's money, whether it's a movie studio or a record label. Somebody's paying for it, and I'm always respectful of that. But I'm never going to compromise.
Ibiza is a popular vacation place for a lot of the players in Spain. If you go in the summer, there are some of the world's most famous movie and music stars, so nobody cares about soccer players.
When you think of a movie, most people imagine a two hour finished, polished product. But to get to that two hour product, it can take hundreds or thousands of people many months of full time work.
We've had some really good guest stars. But I have to go with Alec Baldwin as my favorite. He is so neat and such a movie star. He's handsome and quirky. I was in heaven the week he was on the set.
We are always acting on what has just finished happening. It happened at least 1/30th of a second ago. We think we're in the present, but we aren't. The present we know is only a movie of the past.
A director should not define everything. For me, the movie is a form of a question I pose to the others or to the audience. I want to ask their opinion on my point of view and discuss it with them.
'La La Land' is about the city I live in. It's about the music that I grew up playing; it's about movies that I grew up watching. Even the big spectacle of the movie feels private to me in that way.
I wasn't a kid who moved out from Iowa with aspirations of becoming a famous star - I was intrigued by the idea of filmmaking and by the idea of what it would be like to play a character in a movie.
I used to have a lot of recurring dreams about Captain Hook when I was a little kid, which I remember very vividly. But I think I just really liked Peter Pan a lot, and 'Hook' was my favorite movie.
You know those movies where the people in the audience are screaming, 'Don't go in that door!' because you know the killer is there? Well, it is the same thing with this debt. We know how this ends.
Since the big band started I'm just always swamped with movies and things. It certainly pays the bills and it's very satisfying, because I get to write all these big charts and all this crazy music.