Alexander Payne Quotes
Anytime you cast a movie and you need someone famous in the lead part, you're a prisoner of whoever happens to be famous in the six-month window in which you're trying to get a film financed.
Quotes to Explore
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I am kind of the front man for a team of people behind the scenes who are working just as hard as me and are putting in just as much time to make this all happen. I'm not trying to be humble. I just want everyone to get credit where credit is due.
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What I'm trying to do is to write a story. If you take something from it, that's wonderful; if you don't, that's wonderful as well.
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People have got to get together and work together. I'm tired of the kind of oppression that white people have inflicted on us and are still trying to inflict.
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When romance is done well in a movie, it's awesome.
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With songs I almost see the images, see the action, and then all I have to do is describe it. It's almost like watching a scene from a film, and that's what I go about trying to catch in a song.
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When I did 'Boyz N The Hood', I never thought how we grew up in South Central was interesting enough for a movie.
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We're not trying to make you less of a man. We just want you to love us as deeply and as wholesomely and as fully as we love you.
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There's more to life than being an actor in a Hollywood movie. I'm not going to adapt my life after that existence, where a lot of people do. And they get the publicist, and they get all that stuff, and it becomes them. I think it's a stupid way to live your life. A really dumb way to live your life.
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I had something I was trying to say and sometimes the message is an easy transmission and sometimes it's a difficult one but I love the power of saying it so I'm gonna do it whether it's hard or easy.
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I really identified with Pocahontas' struggles as a young woman trying to identify herself in a modern, changing world and trying to stay true to her culture and heritage.
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Anthony Johnson hits harder than any other person, no doubt. Every time he hit me, it made me kind of, like, fly all over the place. He was trying to take my head off.
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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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I fell in love with the whole process of making a movie. I loved the sets. I loved watching the actors and the crew.
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Trying to guess what the (mass) audience wants and then trying to satisfy that is usually a bad recipe for getting something good.
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There have been two areas identified as being vital to reading - and that's for very young children between the ages of one month and five years and for teenagers. I've been trying to find ways of approaching both groups.
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In 'Roma,' I wanted to get across the idea that underneath Rome today is ancient Rome. So close. I am always conscious of that, and it thrills me. Imagine being in a traffic jam at the Coliseum! Rome is the most wonderful movie set in the world... As was the case with many of my film ideas, it was inspired by a dream.
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We have got into Indian railways and are trying to get into the railway locomotive business in Europe and the United States.
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Television has filled the space for actors that really want to make good work and not just make a lot of money and be famous for making a lot of money and being famous.
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You can't please everybody. You'd be crazy if you're trying to. So take some time out to do some things for yourself.
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Anorexia is a self-destructive thing, and you become stubborn, so when people are trying to tell you something, you get it into your head that they're against you, and you're not going to listen.
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'The Grace of Kings' was meant to read like a set of legends about characters who were bigger than life.
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I wish I could say that when I didn't agree with a director I defer to him, but I think sometimes I'm a little self-righteous.
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However, I think I managed to reach a new level with Koko, and I will always be grateful for the experience.
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Anytime you cast a movie and you need someone famous in the lead part, you're a prisoner of whoever happens to be famous in the six-month window in which you're trying to get a film financed.
