Jodie Foster Quotes
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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.
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I never know what's going to move me. I'm always surprised. And it's always a mystery to the people who work with me.
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I like to nap. I do like to sleep. Sometimes I sleep in between takes.
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So, yes, there's nothing I love more than listening to directors talk about their movies.
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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.
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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.
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My earliest memories are doing commercials and TV.
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'Taxi Driver' was the best thing that ever happened to me, and I didn't become a weirdo and squawk like a chicken.
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But now I really don't want to work unless I really, really care about a project.
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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.
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Normal is not something to aspire to, it's something to get away from.
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Casting is a long process for me. I take a lot of time.
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The best reason to make a film is that you feel passionately about it.
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I think anybody over 30 plays parents because it happens in your thirties and so that's kind of a natural progression. But I'm definitely drawn to it. It's probably the most intense, passionate thing that happens to you as you get older.
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My definition of a friend is somebody who adores you even though they know the things you're most ashamed of.
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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.
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I think Anna and the King is a look at Asia from the Asian perspective, reflecting the Asian experience, which is very rare.
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I think an artist's responsibility is more complex than people realize.
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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.
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I am the luckiest filmmaker I know.
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I'd like to dedicate this award to all the women before me that never had the chances that I've had, the survivors, the pioneers and the outcasts. My blood, my tradition. And I'd like to thank all the people in this industry who've respected my choices and have not been afraid of the power and dignity that that entitled me to.
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I'm a technician. I don't go for the get-into-the-role stuff. I read the lines and play the scenes.
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I was one of those avid moviegoers as a kid, and we didn't have video, so we went to see everything five times. I went to see every foreign film playing in my town. As times went on, I watched a lot less films. I have a different film school now. My film school now is my life experience.
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I feel at various times in my life that I've been at a point where I had to choose between a death sentence and a life sentence. And I want to live. What do I do to live? What do I do to be vital? And the answer is always creativity. The answer is always art.