Movie Quotes
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Yes, it's a prequel. It tells the story about how the girls were born with superpowers, but they weren't necessarily heroes at the beginning of this movie, so the movie is about the events that happen in their life to make them decide to be heroes.
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I've seen 'Goodfellas' a hundred times, and one of the things that I take away from that movie is dynamic pacing and energy. I just think that film is sort of a paragon of excellence in filmmaking and the compression of narrative.
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Life is the movie you see through your own eyes. It makes little difference what's happening out there. It's how you take it that counts.
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I'm the kind of person who likes to create the environment and mindset - not because I do it deliberately, but because that's how I like to live - where, from catering to makeup to hair to wardrobe, electricians, camera department lighting, sound, you know, it's our movie; we're together, and we have that camaraderie and that closeness.
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Our TV and movie cops are usually in heels and pencil skirts.
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I think wardrobe is a really important part of making a movie and developing the character.
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There is a lot of territory out there still to explore TV-wise, show-wise, movie-wise, everything.
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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 do a lot of teen shows and voice over work for animation, so when I got the part in 'The Number 23,' it was really cool because now I get to be in a movie with Jim Carrey. Acting in this movie was really a learning experience for me.
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Sometimes events happen in one Marvel movie that mean you have to adjust what you planned to happen in a different movie, because they're interconnected.
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I enjoy where I am and I don't have a problem with being Steve Buscemi, Stanley Tucci, Don Cheadle, or Jeffrey Wright. They're not the lead of every movie they're in, but every time you see them they're really good.
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Hollywood have been in touch; they want to make a movie of my life.
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When I'm making a movie, I never watch the dailies. I see the movie once and that's it. It's really not about that for me. It's not about the externals. When I'm on a set, I don't want to see it. I want to be subjective in it. That's my habit now.
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I don't want to jump off the roof or jump for joy depending on my movie reviews, or whether it makes money. I think the larger, more meaningful things are family and the people you love.
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The great privilege it has been to work with some of the most talented people on the face of the earth. My first scene in a movie was with James Cagney, for goodness sakes. There I was, just out of the U.S. Navy without an acting lesson to my name.
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And I had a big opportunity with Richard Brooks, The Professionals, which is really a magnificent movie.
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My point of view when I make a book or I make a movie is to see the humanistic point of view. The point of view of the daily life of normal people.
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My debut feature, 'The Baby-Sitters Club,' got good reviews and made good money for what it cost. But it took me six years to get to direct my second feature. I think a guy would have had another movie out the same year.
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I'm Michael Jackson-obsessed. All I watch is 'Moonwalker' - it's my favorite movie of all time.
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I felt self-conscious going out in the street prior to ever even being in a movie. That's just me.
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I'm not sure I would want to be a filmmaker, because I've seen how many people they have to go through in order to create their own movie. It doesn't seem like something I can imagine putting myself through.
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One of the great things about a TV series is that it's different to a movie - in a movie you obviously know the beginning, the middle and the end of what you're going to do. With a TV series it's unfolding, and you're discovering with every episode.
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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 didn't even know my bra size until I made a movie.
