Movie Quotes
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When I work alone, my process is like painting. With Fleetwood Mac, it's more like movie making.
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There are all kinds of things evolving in filmmaking I'm not sure I'm comfortable with. A friend of mine just showed me an immersive 360 movie where you move from environment to environment and can look in any direction you want while you're experiencing it. Which is cool - but it kills directing, as far as I'm concerned.
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As a movie-goer, I really like to watch all different kinds of movies and, as an actor, I always feel like I could do pretty much anything but a musical.
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The first movie I saw where it convinced me I could be an actor was 'Mean Streets,' so whenever I see Robert De Niro and he says, 'Hi, Denis,' it's still a really big deal.
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I started my career wanting to make a 'James Bond' movie, and I couldn't get hired! I made 'The Bourne Identity,' and ultimately the impact of that film was that it changed the 'James Bond' franchise.
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I've hit a point where my big luxury is getting to work on the things I want to work on. That's my hobby. It's being able to do a movie like 'Chef,' where you don't get paid, where you get paid scale, but you get to do exactly the movie you want to do. To me, that's worth more to me than whatever money I would have gotten paid.
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I think the success of any movie is dependent upon it being a singular vision.
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My first movie was 'The Mask Of Zorro,' and that was all swords and horses and swashbuckling, and I thought, 'This is what movies are.' Obviously, I never made another one like that again; those are very rare.
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We are cannibalizing our audience by only giving them regurgitated material. Every movie is either a remake, a sequel, based on something else. Based on a former television series. Based on a successful videogame.
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Character actors just pile up the credits because you work on a movie for like a few days. It's not like I'm the lead in everything I do - far from it. I'm not spending three or four months on a picture; I'm spending three or four weeks. Sometimes three or four days.
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Sometimes movie-making happens like clockwork; other times, like a car accident.
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It's always nice to do a family movie, because I do a lot of R-rated stuff.
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We're so used to everything being properly manicured, like you can hear every footstep in a movie, you can hear every bit of dialogue, and everything is in its place.
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When I use violence in a movie, it's just to express the power, the impact of it.
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I'm in Hollywood - I have no business not being in the movie industry.
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The movie style of fighting is completely exaggerated with over-the-top movements. You'd get completely hammered if you fought like that in a real fight situation.
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People ascribe a certain kind of silliness to the movie business. Everybody feels like, "In the movies, they do crazy stuff."
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I have a romantic vision of the beautiful delineation between TV and film that existed for so many years. I romanticize the studio system and movie stars as a whole, but obviously that's just anachronistic and probably a non-reality.
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They wanted to do a movie about the Backstreet Boys.
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The Tour de France would make a great movie. Drugs, corruption, political chicanery, guys risking their lives - everything you need for a great sports drama.
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In a movie you have all these logistical problems; all these practical problems. But you're also going to have people come who can do things that you can't do, and you get to direct their talents.
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Unless you're trying to make a movie on the sly, there's no way to get around this. If you want to use public spaces, film on the streets, have the cooperation of the police, you have to have a permit.
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I think our movie, 'Now You See Me,' is an emotional movie rooted in smart and wits and fully amazing actors working perfectly together. It's like a supergroup of musicians.
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I'm often uncertain of what's expected of a movie.
