Film Quotes
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Well, that's the old story I heard about the Jackie Chan films. That, like, Jackie Chan will just keep going and when crew members drop he just replaces them. I don't know if that's true but after having worked in Japan I believe it might be true.
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My dream really is just to keep working in film and in theatre.
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With all of my films that are on DVD and Blu-ray, I have spent weeks with them in a color timing room. Just changing or enhancing them. I have been desaturating the color. Sometimes I will make a scene bluer or redder. I do use the new medium. I believe in it.
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I like connecting with people, and that's what good art is, a point of connection. There's nothing better, on stage or on film, than feeling like you've achieved that.
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The only moment football really stops is with a penalty kick - and that is a moment that is really dramatic. A penalty kick becomes a Western duel. It's two guys facing each other. Destiny and potential death, whether metaphorical or literal. That's why in the penalty kick at the end of the film, I shot it like an homage to the Sergio Leone Westerns I saw when I was a kid, especially The Good, The Bad And The Ugly.
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Well, the first thing I can tell you is that I think it was about eight hours in special effects for that whole opening sequence of putting the arm on. Yeah, that was quite an experience. I didn't realize that would turn into such a cult film. Again, you never know. I remember when we did that, the nights in Toronto were very cold. Also, just as it was about to come out, right before the opening, was when that whole Jeffrey Dahmer thing happened. I remember they were thinking about delaying the opening of the film, or at least I heard talks about toning down some of the ads. But it certainly became quite a cult film over the years.
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Then I became interested in drama, and almost by accident, I drifted into film.
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I hate period films - and there are plenty of them - where they say, "Let's not do contemporary language because the audience won't understand it;" "let's not make the girls wear corsets, because it's not sexy" and all that sort of thing. Gradually it disintegrates into a no man's land: you don't really believe it's a period scene and it doesn't feel like it's now because it's not now. You don't feel it's quite real and you don't believe in it.
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You just have to have the right gear and a few people to put you in motion with a good aesthetic and the film will take care of itself.
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Film is like tech starts on the first day of filming and it never stops. There's never a moment when the audience comes in, you're just in tech forever, and I can't stand being on a film set. It's really tedious.
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I like doing film, you know, single-camera.
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Meryl Stripe spoke out about the low percentage of female critics on Rotten Tomatoes. Why are there 760 male critics and just 168 women? You are immediately biased on what kind of films you are being told to go see. What are you told are good films? Male films.
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So much emotion can be brought in an animated film that's very hard to get in a live-action film. I haven't quite put my finger on why, but it might be because the characters can make facial expression that, if you made them in a movie, they'd call them corny.
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I directed the first "Twilight" movie. It was in my contract that I could have gone on to do the other films, but I didn't feel as connected to the other books.
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I regret the way that America has elected to make films for its bluntest section of society and in ways that flatter them, and we have to recognize how much that is being done for money. We have to find another way of measuring ourselves. And film is one of the few ways that might be done.
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I like songs and film because you can turn your life into a sort of myth or dream.
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My very first acting gig was in a movie for Russ Parr. He did this movie called "Love for Sale," and that was my first role in any film.
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Each film is difficult, in its own particular way. There's a unique set of challenges on every movie.
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It makes it difficult to decide which to go see, since no film about say, some tragic genocide in Africa is going to get a bad review even if it's poorly made.
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I'm always in this shape, that shape, whatever shape you like the most. I am always in various stages of shapes. If the woman needs to be more soft I'll gain weight and then I'll lose weight for another film that I did where I wanted her to be more wiry. I enjoy using my body as something that helps me get to a character.
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I've often sat down with people talking about a film I've been in, and they haven't realized I was in it.
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In any art movement, the art has to move into a new phase - a filmmaker has a desire to make a film that is not like a previous film.
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Once you prove yourself, that you're a utility player, they're going to contact you and say, hey, yeah, we need you for a film next Thursday at Fox or Sony or whatever. You kind of get a reputation.
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The audience I'm targeting doesn't care about the language spoken in the films they watch. They're interested in more important things like story, performance, cinematography etc.
