Adam Brody Quotes
Quotes to Explore
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I remember the first time I went to Italy when I was eighteen, I was in Florence and there were all these eighteen, nineteen, twenty-year-olds gliding past on Vespas with crinkly, long, hair, and I thought I was on the set of a movie. I couldn't believe that this was going on and I hadn't known about it before. I was flabbergasted.
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When there's a status quo, usually what shakes everybody up is some sort of military confrontation, at which point we all come running and screaming to pick up the pieces.
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I'm 43 now. I've reached the point where I really can't care what anyone thinks. Of course, I do. I'm an actress. I'm totally insecure, but I'm trying to stick to my guns about what is important to me, and it doesn't matter what anyone thinks I should or shouldn't do.
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Over and over I'm on the point of giving it up.
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I would like to write a movie and, if it wasn't too crazy, also direct.
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One of my main weaknesses is a good movie. I'll just bawl my eyes out.
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Truth be told, actually, my favorite director of the Movie Brats was not Scorsese. Loved him. But my favorite director of the Movie Brats was Brian de Palma. I actually met De Palma right after I'd done 'Reservoir Dogs,' and I was very beside myself.
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There are some seminal things that happened in the '70s for me: Billy Joel and Jackson 5.
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It was really really neat to make the movie because there were mentally challenged actors in the movie. So that was really really cool to work with them and they were always really happy, and they made everybody really happy on the set too.
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Some weasel took the cork out of my lunch.
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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.
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I was very insecure approaching the idea of directing a feature film. I told myself I would not move until I felt I was moving in power rather than moving in desperation to make a movie.
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I couldn't spell anything. I couldn't remember anything, but I could go to a movie and I knew who starred in it, who directed it, everything.
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I would really like to do a straight action movie that's hardcore - heavy action, like 'The Expendables' or 'Fast Five.'
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Ninety-nine percent of the time, when it comes down to it, if I have the choice between a great role and seeing a new guy, I would probably go for the great role because I figure if the guy's really that great that he'll be around once I'm done with the movie.
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Some of the biggest movie stars in the world are essentially characters.
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The comics I made from 1990 to 1997 were largely based in vaguely urban, vaguely dystopic settings because that was my reference point for comics storytelling in general.
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There have been moments where I'm like, 'I don't know how I'm going to survive and pay next month's rent.' And the next month I'm filming a movie in New York City.
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I think that what we were doing with the live musical version of 'Shrek' was taking the ideas and the structure of the movie and not necessarily reinventing it but reimagining it. It is a very different medium to perform.
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As an author, you can't expect a movie to be an illustration of the book. If that's what you hope for, you shouldn't sell the rights.
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I think the danger in trying to set too many things up or do too much world-building in a movie so soon is you forget to actually make a movie.
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If people have problems with people not wanting to win, he needs to tell them and not send it through you guys, ... That's the bottom line. We need to take care of it within our team.
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Every rebellion implies some kind of unity.
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If I don't direct a movie at some point, I've failed personally.
