Movie Quotes
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When people make a horror movie, it's a few months. This is years of horror, that these guys have to play out. It just hit me and I was like, "Wow, that's heavy."
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The biggest mistakes I made in my career were when I said, 'If I do this movie, I'll be able to do a couple more movies.' Those are the times I really got ugly.
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I really think that sex always looks kind of funny in a movie.
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I stepped into the martial arts movie market when I was only 16. I think I have proved my ability in this field and it won't make sense for me to continue for another five or 10 years.
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'The Exorcist' is one of the finest movies ever made, and it just so happens to be a scary movie.
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American Graffiti was the first movie where the director let me have any input. It was the first time anyone ever listened to me. George thought my character should have a crew cut, but I wasn't happy with that idea. I'd always had pretty long hair back then - in college, particularly - so I told George my character should wear a cowboy hat. George thought about it and he remembered a bunch of guys from Modesto, California, who cruised around, like my character, and wore cowboy hats, so it turned out that it actually fit the movie.
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I was fascinated by making a submarine movie, inspired by the Kursk disaster. This idea of being trapped down at the bottom of the sea seemed so terrifying. I was very interested in making a sub film which wasn't a military film. You think, Well, why are they there, then, if they're not in the military? Oh, well, they must be looking for treasure.
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I think, unfortunately or fortunately, the reality of Hollywood is that if your movie makes money, they'll make another one.
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A play that works well and is done quite a lot - I've never done the math - but it's probably more remunerative than a movie.
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This weird thing happens when you're in a movie that has some level of success. People start offering you all kinds of things, and they just expect you to do them because they'll be good for your career. It's not about the project's integrity or anything like that.
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'Peter Pan' is a beloved property. It's a property that was brought to the screen many, many times before, so one has to not only justify the reasons why one might make a 'Peter Pan' movie in 2018, 2019 or whatever, but you also have to do justice to the source material.
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I thought I was done making CIA movies after 'The Bourne Identity.' I really had used my father's work in Iran-Contra on 'The Bourne Identity.' You get one experience like that in your life where you have personal exposure to something, and you put it in a movie. That's it.
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I feel I need to really think about whether there's a way to use what skill I have to address things that outrage me, like the 13 year old girl getting stoned to death. Because I don't think making a movie is going to help that, or change that.
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You have to really work with someone who you think is going to be a collaborator, who you think understands what you want to do with this movie and how you want to do it.
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My first movie, I got nominated for a Canadian Oscar-for Meatballs. For MEATBALLS. And who am I up against? George C. Scott. So he wins the award and I stand up and go, 'That's it-let's get the hell outta here.'
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The way 'Coming Home' uses music in general is incredible, but the final song that really kind of crescendos all of the emotion that the whole movie has kind of been building to is this song called 'Once I Was' by Tim Buckley.
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The novel 'World War Z' is told from the perspectives of so many people - speaking to the narrator - that there's no way a movie could capture all of them. Still, the idea of turning a zombie pandemic into a war story is fascinating and could have translated easily to film.
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When I'm on a movie, I'm unavailable every day for a year and a half. You can't do that with a little baby. Somebody might be able to do it, but not me.
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I don't think a movie today that captured all the things that we did in the seventies could come close, because it's like asking to recreate the seventies and the audience sensibilities and that's impossible.
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I've been back home since November and gradually all connections with my HP life have been fading. It’s gotten to the point where I feel like it was a dream because everything has gone back almost exactly to how it was before it all happened. It's possible to forget and it’s only when someone asks ‘when’s the movie coming out?’ that I remember 'oh yes, that'.
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Once we get out into a kind of an open world, we really do learn about ourselves and for me it's a lesson in discovering yourself, discovering your inner resources and then literally, in the movie, finding your voice.
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I never want to turn something down because I'm afraid to do it, because of some idea of image or whatever. That was never anything I set out to do. In fact, the opposite, I always want to confuse people in terms of any kind of image and be unpredictable in any kind of movie I make.
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If you take a movie like Easy Rider which everyone counts as the beginning of New Hollywood, that is a big movement. And then, when you really dissect that film and the people that were behind that movie, you realize that it has Roger Corman written all over it. Easy Rider is a hybrid film, taking The Trip and The Wild Angels and making a new explosion. And the people that were making it, guess what, they were all people who had worked with Roger Corman.
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I'm a fat kid on the inside. I love food so much, and I fluctuate about 25 to 30 pounds between movies. I feel like I have to do a chess movie that requires very little movement at some point, just so I can eat pizza and play chess on the beach all day.
