Movie Quotes
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The people in L.A. do orient themselves to light. I used to call it 'Tan Fascist Culture.' Everyone there is tanned, wears dark sunglasses, looks like a movie star even when they're not.
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The thing that kept bringing us back to Pete's movie is that it was a story about real people. It (also) had a very specific locale; Chicago is to this movie what Boston was to 'Good Will Hunting,' ... It was enormously heartfelt and, ultimately, nobody could deny being moved by his story.
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There was a widespread indignation in the American media. They were saying, 'How can you make a movie during an election that's about politics? What are you doing? Are you trying to influence people's lives?' To which my response was, 'Well, I hope so.'
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It's very hard to impose your beliefs or a specific message about any given movie. I think that audiences always extract what they want from a film even if something isn't overtly political. They may or may not get it, and it's hard to control that.
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All the director wants is their idea of the movie to be believed in.
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I watch a movie or a T.V. show or whatever; if it's good, I like to watch it more than once, and it's always fun to catch something you didn't see initially.
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Sometimes, I think I could have been a major movie star with the vast mansion and staff. I look at my Volvo and think it could be a limousine. I think of the roles I turned down. But then I wouldn't have had any children.
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But you don't hire Ang Lee to do a typical children's movie. But it's such an interesting combination, whoever thought of getting Ang together with a comic book, that was just great.
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Music documentaries are tricky because of 'Spinal Tap.' That movie has stood the test of time.
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You gotta understand, 'Swingers' was a resume film for me. I never thought anybody would see the movie who I wasn't in the room with showing it to them.
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I don't necessarily go out and try to do something that's going to be just something that will please the audience. I'm not interested in doing something where I get the most people to come see the movie at the same time and they get the biggest explosion. I'm not interested in that.
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When I'm sick of myself, and when I don't know what to say as a solo artist, I can write a song for a movie. When I don't know where to turn musically, being in a band - Rilo Kiley or Jenny & Johnny - the collaborative nature is really exciting.
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To me, the scariest movie ever made to this day is 'The Exorcist.' It still scares the living hell out of me, and it's because of the fantasy element. It's the exorcism. It's the Devil. It's not a guy breaking into your house trying to torture you or cut your whatever off. Those kinds of movies don't do it for me, and I don't call them horror.
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That movie was my girlfriend. That was my girl." I knew there was going to be initial anger. As a matter of fact, when I was deciding to do Footloose that was one of the first things that I had to realize. First of all, I had to figure out a human connection to it but then I also had to reconcile that I was going to get beat up a little bit on this a little bit.
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I thought we were making a nice little movie. That's how it was regarded by everyone else, too.
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When I look back at this career I've had, I don't know where it goes from here, but certainly any time I can make a movie that's different, that explores something that's not a retread of something else, I'm interested in it.
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The Marvel experience was particularly wrenching because I was sort of given absolute freedom while we were shooting, and then in post, it turned into a different movie.
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Your mind always does worse things than people can show in a movie.
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Hollywood have been in touch; they want to make a movie of my life.
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People always ask us, 'When are you guys gonna do a movie? When are you gonna do a TV show?' And to me, that feels like such a step backwards from where are.
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I respect newspapers, but the reality is that magazine 'photojournalism' is finished. They want illustrations, Photoshopped pictures of movie stars.
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The influence of John Hughes is fully felt in the melodrama 'Donnie Darko.' This first film written and directed by Richard Kelly is a wobbly cannonball of a movie that tries to go Mr. Hughes one better; it's like a Hughes version of a novel by Gabriel Garcia Marquez.
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When I approach a band, I want to respect them and be respectful of their music. I'm not gonna say, 'Look, you guys are real hot, so we'll stick you in the movie, and we'll get it in all these stores and all these stations.' That isn't right.
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1977 is the year I made my first movie. Shortly after, I was offered quite nice roles in television. The general consensus among everyone was that I'd be out of my mind to do that.
