Movie Quotes
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I'm not a long movie person. I have a very short attention span. If you give me a 90-minute movie, that's perfect. When it gets to be two hours, that's a little bit too long for me.
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It turns out that it's easier to do politics in a movie. People really don't want it in their TV.
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I find music the the clearest and easiest way in to what a movie will feel like - more so than visual references or other movies or dense dossiers of research material. Every now and then I'll send a piece of music or two to people I'm working with - actors or heads of department - when I think it'll help them get a sense of the kind of movie I'm proposing. Often those pieces will end up in the movie - sometimes they won't.
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How can I make a movie about the violence of the police if the police aren't going to let me film it?
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It does feel like the middle ground has fallen out. I'm only saying that from personal experience, saying, "I'd like to make that movie" and hearing, "Oh, they're not making those types of movies anymore."
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As a professional, it pains me to watch a movie that is botched and amateurish. I prefer directors who have control of both their craft and their ideas.
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Ultimately, I think what I want from my career is to be able to create work for myself, and there's only so much you can do as an actor in a movie.
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Even though L.A Confidential box-office was a fraction of, say, Titanic or the Grinch movie, it finds its audience and will continue doing so for who knows how long, because of the basic thing we love about movies, which is storytelling and performances.
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'Red Dawn' was very resonant with a lot of people - they love that movie. I always thought it was a little hysterical.
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But it is funny, because I saw Unbreakable recently and it's a strange movie, I didn't mind it, and it's got some interesting things going on.
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I knew I wanted to make a movie that looked decadent and expensive. I knew we would have to make every penny stretch and put as much of the budget onscreen as possible. So it starts with your heads of departments - your production designer, costume, hair and makeup designers. Picking the right people who were as committed as I was to telling the story as I was.
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Being a little bit of a movie buff, the fact that I'm working in the middle of movie history is incredible.
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Sometimes, I've had the experience with a director where I didn't share the same vision of the movie.
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I'm such an action movie junkie that as an action fan, because action scenes are so heightened, we could never really picture ourselves in that scene. So when you're watching an action movie, you experience an action movie more outside of the aquarium: you know you're out of the aquarium looking in at all the swimming fish that are in there.
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Sometimes, when I watch a movie where teenagers are played by actors that are 26 years old and look perfect, it makes you wonder what story is actually being told.
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I've been around long enough now and have learned to be flexible enough to know that every movie isn't going to be 'Apocalypse Now,' and every director doesn't have to be Stanley Kubrick.
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You can always tell in a movie when they are setting you up for something. If someone leaves an important object on the table and walks away, the camera will have some way of indicating that to you.
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I was bookish and dorky in high school, so the best part of this movie was getting to be on the other side.
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A sketch is just a mini movie.
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Mostly, I would like people to ask other writers about the craft of their writing so we could learn from one another. We ask movie directors why they chose to use certain lights and angles and speeds of film, but most of the time, we ignore the craft of a writer.
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The plain truth is, 'Fruitvale Station' was made totally outside the Hollywood studio system, and every ounce of the picture feels authentic. The lives of the people involved in the movie will never be the same.
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I love a good harsh horror movie, when it's done well. But there are times when it feels cynical. You can tell when a filmmaker loves the genre, and you can tell when someone's just cashing in a paycheck. Then it becomes a dumbing down - a fetishisation of violence that I react very strongly against.
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There hadn't been one done since the late 70s. I was living in Brooklyn, had no connection to Roger Corman, to no one in this movie. I didn't go to film school. I'm like the person who should have never made this film. But I just decided to put one foot in front of the other. I was writing film articles for magazines at the time. I convinced an editor from one of the magazines that I was working for to give me a shot to do a piece on Roger. This was an excuse to go meet him.
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I was just like, "I want to make a decent 2-D movie." I was so worried that, instead of being a decent 2-D movie, it would have been a bad 3-D one.
