Film Quotes
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One of the main reasons I am so drawn to Hitchcock is that he planned his shots way in advance on story-boards, which he designed like classic paintings (he was an art connoisseur). It's why he found shooting on set boring - because he had already composed the film in his head.
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I am a method actor, but I'm also a film actor as well as a method actor. Characters that don't have humility, whether they are heroes or villains, are hard to relate to. All characters in every aspect of what we do should have humility. If they don't, then they're a cartoon character.
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When it's time to film and to actually take on the role of Precious, I felt an immense responsibility to do it justice.
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I'm very happy to co-produce a film like 'Srimanthudu.'
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With 'Girls,' it doesn't really feel like I'm doing TV specifically. It just feels like we're making a really long film.
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Some fellow from the Third World kept hammering for prizes for a Communist film which was rotten.
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I'm a New Wave baby, so I got very stimulated by foreign film.
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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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It isn't glamorous until after the film is finished, and you are at the premiere and getting your picture on the cover of magazines.
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Market forces impose certain rules before a film can actually get made.
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I know that a lot of people take inspiration from the fact that I was just a common man with no film background who turned into a star.
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Working on 'The War Room' was a thrill, not only because we were given such exquisite access to the nerve center of Bill Clinton's first presidential campaign, but for me personally, it was so exciting to be producing my first film and working with documentary filmmaking legends D.A. Pannebaker and Chris Hegedus, who were the film's directors.
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I'm Method trained. How is this character like me? What does she think of her mother? What does her mother think of her? It's like construction, and then, yes, you hope you're talented and that the universe aligns and captures the kind of laborer's work you've done and whatever else sprinkles down on you, and it's all caught on film or onstage.
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Between the ages of 18 and 20, I made three hour-long films. One was a superhero film called 'Carbolic Soap.' One was a cop film called 'Dead Right.' And the other was called 'A Fistful Of Fingers.'
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Film and TV and stuff like that was something that I wanted to do when I was really, really little; like, I remember I used to do these plays with my cousins. We used to do Michael Jackson performances, and I would be Michael.
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Who cares and remembers if my last film was a success? I need to work harder.
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You are probably right when you say that I could get a role in any producer's film if I just asked.
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A film of my life would never happen!
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I realized what interested me as a student of film was one thing and the movies that I liked were another.
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One of the best teaching experiences Ed Schein and I had when we were teaching at MIT in the 1960s was inventing a course on leadership through film.
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No matter what lens you use, no matter what speed the film, no matter how you develop it, no matter how you print it, you cannot say more than you can see.
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I think auditions are set up for failure because they're not really the set experience. There's no time to develop the character. You're just looking at someone... if someone's really good in an audition, sometimes they're not good in the film. It's something you learn when you're doing short films. It's the same way that some people do well at taking tests and some people don't. But when you're on a long-term filmmaking process it's a completely different feeling.
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When I saw rappers in the '90s cameo in films - all of those '90s rappers - it seemed like whenever you chucked a rapper in a film, they could just act. It seemed like all rappers could act.
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I'd like to do a really masculine film.
