Film Quotes
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I like doing film, you know, single-camera.
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It's a passion when you're doing it for other people and you're doing it for the people around you making the film and the people who are going to see the film, and the giving. When you start thinking about you doing it for some sort of self-gain, then I think it becomes an obsession. It becomes a negative experience.
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Then I became interested in drama, and almost by accident, I drifted into film.
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Summer blockbusters are very expensive to make. They have things that have to be expensive, such as 600 effects shots or CG characters that have to go a certain way, or a film design that is different but expensive.
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I am the least likely person in the world to be in an American football film! Which is why I couldn't say no to The Replacements; I thought it was hilarious.
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I was shocked when I tried to articulate this to someone who had posted the film and asked them to remove it for a few months, and I actually told them that after that they could put it back up and they were just completely unwilling to compromise - you'd think I was Rupert Murdoch or something.
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Sometimes I get mad when I think that I only have maybe 40 or 50 more springs in New York. When I miss one, 'cause I'm on location for a film, I wanna go, 'That's it, that just cost me one of my 50!'
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Playing the lead in a film where you shoot for three months away from home is not an easy thing for me when my children are in school and my husband is running a theatre company.
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To me, 'Educating Rita' is the most perfect performance I could give of a character who was as far away from me as you could possibly get and of all the films I have ever been in, I think it may be the one I am most proud of.
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It is incredibly daunting to take on a live-action story. I think that it adds a level of complexity to the responsibility that goes beyond what I've experienced on these two films (The Lorax and Horton Hears a Who).
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Each time I work on a film, I say to myself, 'This is it. This is the end.' Because it is so stressful, it's like torture.
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Anyone can buy CG technology. It's not that it's easy to make those films. Those films are just as difficult, they're incredibly hard to make.
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I lived in Vancouver, where they film so many things. So it gave me a good shot at it.
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Film 'This Changes Everything' is not a sad story. It's not a slit-your-wrists climate film. It's a story about people who are making change happen.
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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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If I can't find a theme, I can't make a film anyone else will feel. I can't laugh at intellectual humor. I'm just corny enough to like to have a story hit me over the heart.
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Actually, screenplays were much more detailed than what I did in the book In the book I had to invent a style for communicating what the sensation of looking at a film would be, whereas the screenplays I wrote in Paris were actual blueprints for how to do the film, with every gesture, every little movement noted in exhaustive detail.
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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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One of the things I did early on in film was over-enunciate and talk too loud.
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I said to Martin Scorsese, 'When are you going to make another film with a woman at the center?'
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I'm really lucky, I have my performing career so I can continue to do personal appearances. Most actors have to do a film. But I thought I would wait until I found something I really liked.A lot of my friends feel that I'm wrong to wait. They say I should have done My Bodyguard, but I don't think so. I think I've been right.
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As far as commercials were concerned, I did very few, and I did them only when they gave me carte blanche to them the way that I wanted to. And I did them as an exercise, because I, who do very long films, never thought I would be able to tell a story in 30 or 40 seconds - you come across a whole new system and manner of approaching a subject.
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In our benighted age, when films about amusement park rides and electronic fidgets scoop the honours, perhaps Hollywood redux is the best we can hope for.
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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.
