Curtis Hanson Quotes
Movie stars exaggerate certain things to let the audience know they're just playing a character, as if they're saying, "Look at me, I'm not really an old man, I'm just playing one." Or "I'm not really a homosexual, I'm just playing a gay character. Or an alcoholic. Or somebody who's mentally impaired." They often do it very successfully and win awards for it.
Quotes to Explore
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Before 'Raman Raghav 2.0,' I played a criminal in 'Badlapur.' Though the character was innocent, he was not correctly interpreted by some sections of the audience.
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When I wrote 'Hatchet,' I knew that I was not re-inventing the wheel. That was never my intention. My goal was to make an '80s-style slasher flick that actually holds up. Basically, I wanted to make the movie that I wanted to see and pay no mind to current trends or conventions.
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Books are my art. The movie is someone else's art. But it's great marketing for books.
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The Russo brothers are the best people ever, and they cast me in 'Happy Endings.' I did text Joe Russo to say, 'I don't think my character dies, so if you need a local news cameraman to show up in 'Captain America 2'... I know it doesn't make sense, but just hear me out on this!' He was really cool about it and turned me down right away.
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I really loved 'Witches of Eastwick', the movie with Michelle Pfeiffer and Jack Nicholson and Cher.
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All my stories are about the action of grace on a character who is not very willing to support it, but most people think of these stories as hard, hopeless and brutal.
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I read the script for 'Guncrazy' in 1985 and loved it because it was one of the few scripts I'd come across that revolved around a strong female character.
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Like all weak men he laid an exaggerated stress on not changing one's mind.
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I played a character in 'Ransom' who was as evil as they come.
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I'm proud that Della was sort of a prototype for TV secretaries. There really was no such established character on TV when 'Perry Mason' came along.
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Any character that can't be kept straight, to me, isn't a character who should be in the book – you know, anyone not vivid enough to have a claim on my attention.
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Men are what their mothers made them.
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In Finland we have equal political rights for women and men. We do not regard ourselves according to sex.
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It's successful, middle-class Arab men and women, professionals with seemingly happy family lives, who are prepared to go to paradise for a greater cause. That's terrifying.
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I think things are funny when the character is taking it totally seriously.
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The only way to see a movie is in a big theater, on a big screen, with a big bag of popcorn.
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For the 'Riddick' character, I try to get as ruthless as possible, and I want to be a machine.
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You can be a man who loves a woman but love someone the way a gay man loves another man or a woman loves a woman.
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Work-family conflicts-the trade-offs of your money or your life, your job or your child-would not be forced upon women with such sanguine disregard if men experienced the same career stalls caused by the-buck-stops-here responsibility for children.
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All men must marry much younger women...
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A global democracy works only when countries trust one another.
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I fail to see what fun, what satisfaction / A God can find in laughing at how badly / Men fumble at the possibilities...
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What's important about the artists we learn about in art history and see in all the art books is that they have somehow pushed the boundaries of what people think art is or should be, and that's how they've made their work relevant. That's what I'm trying to figure out for myself.
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Movie stars exaggerate certain things to let the audience know they're just playing a character, as if they're saying, "Look at me, I'm not really an old man, I'm just playing one." Or "I'm not really a homosexual, I'm just playing a gay character. Or an alcoholic. Or somebody who's mentally impaired." They often do it very successfully and win awards for it.
