Quotes of All Topics . Occasions . Authors
I remember when I was about 18, Sean Penn made a bet with me. He had just directed his first movie, and he's like, 'By the time you're 30, I will bet you $500 that you'll be sick of acting.' I'm still waiting to collect, because I'm not.
What 'Scream' was great at was presenting ironic detachment and then making you actually care about the people that were having it, and juxtaposing it with their situation, all in the service of making a great horror movie. It was fresh.
I don't have people following me around, like bodyguards. I don't know how people live like that. Maybe the young movie stars have to live like that, I don't know. But it seems a little crazy to me. I don't think you need all that stuff.
I recently finished a job, an HBO movie 'Getting On,' a very dark comedy. It comes from a British series of the same name. In this role I have no hair, no make up and no nails. I play a very small role; she is not over the top and sassy.
Apart from 'VIP' being a blockbuster movie, the various characters such as mine, the Luna bike I use in the movie, the lovable amma and appa, a pet dog named Harry Potter, the innocent brother, etc., had a huge reach among the audiences.
I remember when I first came around, the computer-generated stuff was pretty wicked. I was like, 'Wow!' but I feel like then for the longest time, we saw so much of it, after a while, you might as well just be watching an animated movie.
From my very first movie, what was my concentration, my inspiration, was I didn't want to narrate something, I didn't want to tell a story. I wanted to show something, I wanted for them to make their own story from what they were seeing.
I don't know what your childhood was like, but we didn't have much money. We'd go to a movie on a Saturday night, then on Wednesday night my parents would walk us over to the library. It was such a big deal, to go in and get my own book.
When I'm doing a movie, I eat the same thing every day. For lunch, it's tuna salad or chicken salad and cole slaw. That's it. For dinner it's either veal and rice, fish and rice or steak and rice. It gets boring; boy, does it get boring.
I wanted to make sure that 'Up' wasn't a 3D movie about a man who sails his house to South America. It's a movie about an old man who sails his house to South America that also happens to be in 3D. So the first thing is always the story.
I feel like I'm still learning a lot. I think there's a tendency for people who are just doing their first couple of films that I see now where they seem to be really resentful of the technical limitations that come along with filmmaking.
For my wrap present, Colin Farrell gave me a first edition book. I got so involved with this character and I was so sad when the movie was over that when I got home and I tried to read the book I got really emotional and I started crying.
For a movie, you have to make sure the lyrics are consistent with the rhythm that is given to you. But, at times, during the song's recording, you find out that your words are not appropriate for the track, and so you have to change them.
When shooting in real spaces, the work of a cinematographer begins where location meets production design meets time of day. No movie light will ever look as real as the sun, so scheduling becomes truly paramount to naturalistic lighting.
I got the regular call, that they were doing a Broadway musical of Hairspray, and would I come and audition. I was familiar with the movie, because at the time it came out my lover wrote for Premiere magazine, and we had to see everything.
My movie is born first in my head, dies on paper; is resuscitated by the living persons and real objects I use, which are killed on film but, placed in a certain order and projected on to a screen, come to life again like flowers in water.
I saw an Elvis Presley movie Jailhouse Rock, where he gets out of jail and makes his own records and takes them to the radio stations himself. And then, he puts records in the store. After seeing that, I made records an put them in stores.
I'm a curious person. I pursue things based on what sparks my interest. I'm not thinking about what role I play. I don't have to be a movie director or this or that. I just want to be part of projects and places that are of interest to me.
You'll see a movie about someone you hate or someone you love. Will you see a movie about grandma making apple pies? No, you won't. Only if grandma has poisoned the neighbor or is suspected of poisoning the neighbor through her apple pies.
With the first 'Toy Story,' we didn't know what the hell we were doing. We'd never made a movie before, so we went down a lot of blind alleys along the way. We went through seven different writers before we finally settled into our groove.
What you don't see is scarier than what you do. Categorization is always kind of arbitrary, but people have called 'Preservation' a 'psychological thriller.' To me, psychological thriller basically means 'a horror movie without the blood.'
I'm into clothes, but in a way that's related to wanting to walk into a film noir movie. You know, I love to go to vintage stores, but mostly it's stuff that I don't have anywhere to wear... I don't have the life that goes with the clothes.
I think the attraction to Israeli women stems from the fact that we're exotic and the fact that there are many talented and beautiful women in Israel. I think that there is also greater awareness of Israel than before in the movie industry.
A movie like 'The Apartment' is beautifully directed, but you can't put your finger on why it's such a good movie. It just is, because of all these things that Billy Wilder is subtly doing. That level of filmmaking is something I aspire to.
I went to Carnegie Mellon for a year and a month or two, and then I dropped out because I got a movie. I didn't anticipate ever leaving school - I was a really serious drama student - and then that happened, and my life sort of took a turn.
I recently saw the movie about Ray Charles, and there's a scene where he falls down and the mother doesn't help him. She says, I don't want anyone to treat you like a cripple. I've fallen down before, and Molly will say, get up and just go.
I have no great desire to play a great role. You can't make quality on TV anyway. It's always a manure pile. You're on the top, or you're on the bottom, but it's still a manure pile, and I'm not sure the movie industry isn't like that, too.
I like something simple and traditional, like dinner and a movie. The best way to get to know someone is to have a conversation over dinner. And steak houses have a nice atmosphere - the lights are dim, and they usually have a band playing.
The pageant movie I'm obsessed with is 'Miss Congeniality', hands down! I could quote everything from that movie. I love so many scenes, but I always find myself quoting the scene when Sandra Bullock goes, 'I really do just want world peace!'
'Deep Red' (1975) is my favorite movie. The character David Hemmings plays is very much based on my own personality. It was a very strong film, very brutal, and of course the censors were upset. It was cut by almost an hour in some countries.
When I signed my contract to be in 'Grease 2,' my agent said, 'Well, she's going to have a number.' So I did! They wrote me a number where I was teaching Maxwell Caulfield how to be cool. It was called 'Cool Rider.' And it ain't in the movie.
I just felt that you can't have a character fall in love so madly as they did in the last movie and not finish it off, understand it, get some closure. That's why the movie is called 'Quantum of Solace' - that's exactly what he's looking for.
I loved old black and white movies, especially the Fred Astaire and Ginger Rogers musicals. I loved everything about them - the songs, the music, the romance and the spectacle. They were real class and I knew that I wanted to be in that world.
Most Americans acquire dogs impulsively and for dubious reasons: as a Christmas gift for the kids. Because they saw one in a movie. To match the new living-room furniture. Because they moved to the suburbs and see a dog as part of the package.
I am co-writing a screenplay now and I'm working on the rights to another story I want to do. So I plan to produce and direct. So, for me, I don't really feel that I am vulnerable to that sad baggage that comes with the business of filmmaking.
I'm not saying it isn't frustrating that my films haven't gotten a bigger release, but I'm really happy with them and if you just keep cranking and eventually, if you have a certain sensibility, some of your movies will hit and some just won't.
I have met Jackie Chan about 6 times up 'til now... and even though many people think we are natural enemies, I personally think he is a cool bloke and would honestly love to work with him in a film one time - that would a well brilliant movie!
I never take credit for my movie's success. I am the face of the movie, but there are numerous unsung heroes behind the scene. From the director, cameraman and editor to the light boy, everyone knows how difficult it is to satisfy the audience.
'Bagdad Cafe' was a film that changed many, many people's lives... how they saw themselves and how they looked at their life situation. I thought I made a little movie. All the mail that I get is about how it changed lives, and that's wonderful.
Just to be true to myself, which is why I did this movie. I figured everyone was going to freak out and say, 'Why would you do that after Dorothy Dandridge?' My answer is 'Because I can.' And that feels really good to be comfortable saying that.
Jaws' was the definitive filmmaking turning point for me. It came out in the summer of '75 and I saw it an obsessive 55 times. They even ran a very embarrassing article about me in the local paper, about the weird kid who's seen 'Jaws' 55 times.
Movies are boring. It's like watching paint dry. I did a little role in a movie, and it was eight lines. I was there for three days. It's just horrible. Television is 15 hour days. Movies are 18 hour days. And it's 18 hours of doing not a thing.
Analyses of the movie marketplace points to an interesting phenomenon: High-profile movies are continuing to do well year-to-year in the U.S. and overseas - this past summer, for example, the top 10 movies registered at the same level as in '04.
I can't tell you how scary it can be walking onto a movie and suddenly joining this family, it's like going to somebody else's Christmas dinner, everyone knows everyone, and you're there and you're not quite sure what you're supposed to be doing.
I think crafting a new, effective horror movie is not just about when night falls and things get scary. It's about setting a tone and mood that permeates throughout the entire movie. So even during the daytime, things are never quite safe-feeling.
The manner in which Americans ''consume'' music has a lot to do with leaving it on their coffee tables, or using it as wallpaper for their lifestyles, like the score of a movie --it's consumed that way without any regard for how and why it's made.
If you check your ego at the door when it comes to comedy, you've got a pretty good shot at making a great movie that you can commit yourself to, you can jump off the proverbial cliff with, and have a great time, and the audiences respond to that.
For me, 'Jaws' is much more of an adventure movie, but when it's scary, it's terrifying. When it's funny, it's hilarious. When there's drama, it's the most sincere stuff on screen. When there's adventure, there's swashbuckle. It's all those things.
I like figuring out where I need to be mentally so that I'm not thinking about the camera and that it's second nature. I want to get to a place where I can exist within the confines of what you can do with filmmaking and not have to think about it.
Even in the realest American cinema that I see, there's still not that sense that this is reality. There's still that sense that you are watching a movie. And hopefully, if we did get our jobs right, that sense disappears when you watch this movie.