Emile Hirsch Quotes
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It was very, very challenging being on this thing called the gimbal. It would throw you around, give you whiplash, and they'd tie you down.
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Artistic ambition is important. And it seems it would be a great time to do some theatre, like a new extreme.
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I was so grateful to have made 'Into the Wild' before I made 'Speed Racer' because on 'Speed Racer' I was indoors every single day, every single scene, on a green screen. Some of the time, just to pass the time, I would think back to climbing mountains in Alaska. That really helped me.
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I'm not a ball in a pinball machine. I know what I want.
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I don't really like the slogan 'It boy.'
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When I got a lap dance, because I was 17, they had to put a massive pillow between me and the girl when she was grinding me. It was weird, yet pleasurable.
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Believe it or not, I got into the charismatic, shady, sly heart of Sedgewick Bell by watching CNN and C-SPAN.
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There's something about the good-hearted guy fighting the system. I just love that. That's how 'Speed' is. He's a really focused guy with a heart of gold and the corporations are trying to crush him and use him for his skills to make them more money.
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I'm not staying away from any genre. I'm trying to get scripts that I like.
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On 'Into The Wild' I spent months risking my life and on 'Speed Racer' I spent 60 days acting in front of a green screen. No danger to my physical self, but I sure had to use my imagination.
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I've realized that what you think of when you make a 'big movie,' if it's actually a green screen movie, it's like doing independent New York theater because you don't have any backgrounds or props. So it's kind of like making the lowest budgeted film you could possibly imagine, plus $100 million.
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There's something just so kind of smooth about politicians.
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I identify with someone wanting something to work out, but not being able to get through the rocks to the river.
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A lot of the stuff in 'Speed Racer' has never been done before, from it having a multi-tone, to it having a retro-cool family movie, to having the photo-realism with the CG-backgrounds and infinite focus the way they worked with these digital cameras, to even the color experimentation.
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Especially these days where everything is so polite and so proper, I think that rites of passage are good.
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We want to do for 'Hamlet' what Baz Luhrmann did for 'Romeo and Juliet' in terms of like a really cool kind of re-imagining.
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I don't have an interest in any car that isn't good for the environment, other than maybe an aesthetic quality in a picture book.
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I remember when I saw 'The Matrix' when I was 13, I saw it in the theaters, and I was so blown away by it. It was one of the most memorable experiences I definitely ever had in the theater.
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The genres are widening. I don't think that there's as many limitations on the kinds of projects that actors can do as there once was.
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If you give an actor any wiggle room to whine in situations where they want to whine, you're gonna whine.
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In Dogtown, skateboards are like bikes to the Chinese.
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Maybe you will be afraid and maybe you will fail, but the courage to take risks in any part of your life is, I feel, a very worthwhile way to live.
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How much cooler was Oz than seeing the little dude behind the curtain?
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The willingness to keep learning is, I think, the most important thing about trying to be good at anything. You never want to stop learning.