Bob Proctor Quotes
Quotes to Explore
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The cutting room is where you discover the optimal length of the movie.
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I would love to do a period movie. I've always wanted to wear the corset, you know. It's a girl thing!
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I've had those people very interested in my writing. Since I think of myself as a composer, I feel really good. I've had lots of guys call me up. I've gotten two or three commissions to write things. I've written lots of movie scores.
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I tried to get a baseball movie made a couple of years ago and I don't think it didn't happen because I was a woman, but because sports movie don't sell internationally.
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It would be great to make a movie that had the style of a great '30's film.
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After you do this for a while, you get used to things not working the way you want them to. There's a job you want, and you don't get it. There's a movie you'd like to get made, and it doesn't get made. You become inured to it.
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It is true that some people are interested in the buying part of things... They want to buy everything from the movie reviews to the media net to the opinions and so on.
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I'm the worst rider. I'm a terrible rider. Me and horses are not a good mix. For some reason, people are always trying to get me on a horse in a movie.
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Dancers have always been a kind of background image, we've always danced behind an artist or we've danced in a movie behind the actors. We've always been very secondary.
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As a first movie, 'The Hobbit' is not a bad place to start.
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If I hadn't been a model, I couldn't have become a movie actress.
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I met Alejandro Gonzalez Inarritu years ago during my college days, and I was in charge of international promotion of this movie festival he was invited to as part of the jury, and then he saw my work on a short film that was directed by a friend of mine.
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'The Replacements' is where I met Jon Favreau, and we just clicked like, you know, like kids at a camp. And he wrote my next movie, which was 'Made.'
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I think the older that I'm getting, the more I'm understand what a privileged job I have, and what an opportunity I have. Now I'm directing films and I'm getting my first movie in America off the ground, and you start to understand how the system really works.
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Somebody once said, you have to wait 20 years before you can tell if a movie's any good or not so that's probably true.
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I can tell you, if you shoot in the rain you're going to have a lot of voice ADR to do after the movie and voice looping, stuff like that.
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Even if you look at the 'Paranormal Activity' movies, at the end of the movie things get really crazy and nutty, but they all start in a very mundane situation that people can relate to, and that's also to some degree what we tried to do in 'Chernobyl Diaries.'
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What's so cool about movies is once you're done with the movie, you put it away and come up with a whole new different idea with different characters and a different world. But in TV, you build these characters, and you build this world, and then you're there for however long you do the show.
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The question is: Where would it get you if something that's a little bit ambiguous in the movie is made clear? It doesn't get you anywhere.
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I could never hold a job for more than three months, which works out well because that's how long a movie shoots.
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I'm very easily influenced, and I'm also a quick study, so I think when I decided I wanted to write pop songs, I literally just listened to pop radio for six months to get a feel for it and understand it.
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In 1994, to motivate me to complete my pilot's license, my good friend, Gregg Maryniak, gave me Charles Lindbergh's autobiography of his solo flight across the Atlantic.
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Writing is part intuition and part trial and error, but mostly it's very hard work.
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Most people are extras in their own movie.
