Film Quotes
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Critical opinion on my films has always been salvaged by what I would call subsequent critical opinion.
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I feel that film, as opposed to theatre, is about capturing that one, real moment.
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There's a lot of crap out there. Most of the science fiction films alone are abominations, you know. They're mindless. So you can't learn from those kinds of films.
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I spent 30 years of my life not being wanted at all for films.
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Three directors whose work directly influences mine are Paul Thomas Anderson, Darren Aronofsky and Susanne Bier (her Danish films). You'll notice that they all don't make feel good movies, same as me, and their films are always visually simple but beautiful (and I hope mine are!).
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You get paid the same for a bad film as you do for a good one.
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I was shooting for 'Maaya' when I got a call from John Abraham's office. They told me about the film and asked if I could audition. But since I was shooting, I recorded my audition and sent them the tapes. The next thing I know, I was on board.
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The first film I ever remember - I think my mother took me to it - was called She Married Her Boss with Melvyn Douglas.
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Hollywood was a good influence because I was madly in love with films, and the films had a direct influence on me.
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Different films have different places in people's lives. I don't get to see a lot of films, so I want to watch films I learn from.
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My favorite film involving scarves was little Edie in 'Grey Gardens.' I often wear scarves like that, under hats.
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It doesn't really exist, this Frat Pack. We run into each other on occasions and we all like each other's films, I guess, but there isn't some big funny restaurant or bar where we all hang out. At least, if there is, they haven't invited me.
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I've realised that to make a successful film, you have to be with a unit which is happy and positive from the beginning.
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When you work on a graphic novel or a film with people you've been together through a lot and you've exposed your secrets and weaker sides to each other.
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It's much harder to act in a bad film than in a good one. A terrible script makes for very difficult acting. You can win an Academy Award for some of the easiest acting in your career, made possible by a brilliant script.
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A film star is a kind of public monument, and everyone's staring at them, and they've kind of got railings around them, and they're rather miserable most of the time.
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I find it rare to see truly complex portraits of women on film.
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You're constantly changing man. But the film's not changing. The film stays the same. That's the beautiful aspect of it.
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'Elf' has become this big holiday movie, and I remember running around the streets of New York in tights saying, 'This could be the last movie I ever make,' and I could never have predicted that it'd become such a popular film.
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I think classic films are classic for a reason. It's always sketchy to redo one, especially if you're trying to make it contemporary. That's really just not the way to go.
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There's something that happens where you go, if you're lucky, goodness me, from film to another film to another film. And you can sort of feel that if you step off that treadmill, it might all go horribly wrong and you might never be employed again, you know. And I suddenly thought that that's not necessarily the case. And I also thought we make drama as actors about people in the world and that if you are on that treadmill, you start making films about other films.
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In that film Love Story, there's a line, "Love means never having to say you're sorry." That's the dumbest thing I ever heard. Love means saying you're sorry every day for some little thing or other.
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It is quite surreal having a film made about your life. The whole process of turning real life into drama is interesting in itself, but even more so when it is your own life being put into the narrative forge.
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