Movie Quotes
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Working on the ABC movie 'Don't Look Back: The Story of Leroy 'Satchel' Paige,'' which we filmed in Hattiesburg, Mississippi, was a special pleasure, particularly because I'd played baseball in high school.
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I want to entertain people, whether it be with a comedy, a drama or a movie. An idea's an idea.
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I'm proud of 'Miracle at St. Anna' and I loved it; there's no question in my mind it's as good as any movie that came out in 2007.
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I really want to work in a movie with Quentin Tarantino. I think he makes fantastic movies. I love people that create a different reality for the actors to live in.
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When you have three days to work on a scene, you can give all that love to the movie.
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I'm happy that I feel a little less out of place in filmmaking than I once was - but it's almost impossible for a playwright in the U.S. to make a living. You can have a play, like I did with 'Angels,' and it still generates income for me, but it's not enough for me to live on and have health insurance.
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I would love to do some kind of mystery movie, or an action flick, something with that combination.
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I've always lived out of a suitcase. I was in a new city every three months. When I was a model, I traveled the world, and as an actor you're traveling from movie set to movie set. So I've never been in one place long enough for anything super-bad to happen.
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In Mexico, you need to be a bulldog to make a movie because everything is set up for you to go back home and get depressed and not do the movie.
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People who work in horror know they are contributing to a genre that has always been loved and will always be loved - privately. It's the forbidden evil working behind the curtain. My job scoring a horror movie is like being the barker at a carnival. A good barker can get anyone to walk into the roped-off tent.
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There's an indie movie I did called 'Fat Kid Rules the World,' which was based on a teen book, and it's a fabulous story, and hopefully it'll go to theaters because it is an amazing story.
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I wanted to make sure that I did one movie in my career that mothers hug me for.
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I'm approaching the idea of taking on a responsibility as great as saying, "I'm good enough to be in your movie." It's a huge statement to make, and every time I do it, I think, "Is this the right choice?"
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It's weird because movie-making, and especially movie theaters, have always been so old-school, and it wasn't until 3-D that a lot of them were forced to have digital projectors and even digital distribution.
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From the age of three to 15, I wanted to be a ballerina and trained really, really hard. Then I had that classic movie story moment, where I had an injury and had to give up my dream.
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We're seeing this disintegration of the family movie into these blockbuster things that kids should not be exposed to with explosions, carnage and violence.
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I saw 'The Fountain' because my friend came over one day and said, 'This is my favorite movie I've ever seen. Please watch this,' and I watched it, and that was amazing.
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I love scary movies and respect the filmmakers of scary movies, and it's just as hard to make a great scary movie as it is to make a great comedy or drama or anything else.
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But Clint I love, because Clint was my mentor. I knew nothing about making an Italian movie.
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Every movie goes through that U-shape where you start with 'Oh that's a great idea. I love it.' Everything's possible and then you face 'Oh, we can't do that, and that's impossible, and that's a bad choice.' You go the practicality of it. And then you come up to 'Great.' But that middle part is when you don't have results yet.
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It's not a movie, no private screening This method acting, well, I call that living
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Since most of 'Mean Girls' consists of the outsider Cady observing the tribal rites of her new setting and laying it all out in narration, this movie is just like home for the meticulous and ruthless deadpan that Ms. Fey has perfected for the satirical 'S.N.L.' newscast in which she and Jimmy Fallon are the anchors.
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The world we live in is like a Benetton ad. It's changed, and we have to appeal to a broader audience. You want younger kids of every race to be able to see themselves in the movie.
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You can't create a movie as you think about it. And what's in the scene is not what's being seen. A shot always means something other than what it is. All are vehicles. A landscape is just a vehicle. The viewer might think different things, and I'm not going to intervene.
