Movie Quotes
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I played a bass player and a singer in a movie once, but I totally lip-synced to everything.
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The greats are 'The Shining', 'Rosemary's Baby', 'Don't Look Now', 'The Exorcist' - those movies were not really slashers: they were about psychological terror and had very deep emotional backdrops. If we do our best, '6 Miranda Drive' can be that kind of a movie.
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I think mostly it's the adventure that I will have in making the movie. That's what I look for.
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My dream role would be to play a femme fatale in a Quentin Tarantino movie.
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I was one of those kids who moved around a lot, but in every town I ever lived in, there was always that after-midnight horror show. It was hosted by Elvira when I lived in L.A. There were other ones. I can't remember the rest of them. They were always able to pull out the sense of humor in the movie.
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When the financial crisis arrived, it seemed to me that this was something I had to make a movie about.
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I feel too strongly about rearranging reality in a movie. It gives me peace.
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For the gun work, I had more of the basic training from the previous [movie John Wick] and the weapon work I have done in the past. In the second movie [John Wick 2], it really went on into another level. I've done the three gun training, where you worked with the pistol, rifle and shotgun. So that all is in the film.
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'Looper' was so brilliant, and it took me forever to finally see it, but the way that movie ends and the message behind that is so selfless.
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You've got to think of fun stories, and if the fun story happened to have a lesson, that's a great thing. If you build a movie around a lesson, you're in real trouble.
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In the life of a director - these days in particular - when it really does take so long to do a movie, with a few exceptions, actors may never work with a director again, even if they're great friends.
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I hadn't made that movie before and when I ever met the real Joy Mangano, which happened because De Niro insisted we meet her and her father, that's what she felt like to us. She impressed us with her quiet, serene authority with herself.
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When I was at the age when you were supposed to be glamorous if you were a movie star, I wasn't.
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When you make a war movie, the other side has to be the enemy. You're making a war movie from the point of view of a soldier fighting it.
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My advice to any actor who's playing, quote, unquote, "extra" to think of it more like Stanislavski did. It's not a small part. You are the lead in the movie, in your own movie.
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There's a vast difference between marketing a movie and the movie itself. You try to cast as wide and broad a net as possible.
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I've been in 'Avengers' films, but I don't do a lot of the action parts. There are superheroes in the movie! People would much rather see them fight each other!
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I think that, oftentimes, what people say is, 'We need an actress who'll be able to greenlight a movie,' and my counterargument to that is always that, when it comes to a teen movie, you have very few people who can greenlight a movie.
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I think if the movie has resonance and stimulates the viewer to talk about it, you can have as large an audience as you want. The most important thing for me is that the movie exists. And that's success enough already.
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The funny thing is, I've never really hurt myself in an action movie. I've done 'Wanted,' 'X-Men,' 'Welcome To The Punch,' even 'Trance' to a certain extent has little bits of action and stuff, but I've never really hurt myself at all - not even like a sprained ankle.
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Most people remember being 4 objectively, as if they're seeing a movie of a 4-year-old. But me, if you ask me to think about when I'm 4, I can feel myself being 4, and I am there, looking out through my 4-year-old eyes.
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No studio in Hollywood wanted 'Cold Mountain.' None. No one wanted 'Ripley,' no one wanted 'The English Patient.' That tells you there isn't really an appetite for ambitious movie-making out there.
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There was a thing in the Andy Kaufman movie that Jim Carrey (Man On The Moon) about how he would do it. I didn't even see the movie. I read the script. But someone asked me, "Do you know what the best part of the Jim Carrey/Andy Kaufman movie is?" And I said, "me lee see ree bee." I just knew that would be the best part.
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I make every movie and every scene like it could be my last. That's the only way I know how to make cinema that stands on its feet. I have to treat it like that. It has to be life and death stakes.
