Movie Quotes
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I realized that everything I do is fantasy, whether it is an adult movie or a kids movie.
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Hollywood wouldn't suit me. In L.A. it's all about work - studio people have their five minutes with you and they go, 'Oh mah Gahd, I love your movie.' You just feel very self-conscious there.
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If I have an idea I want to put in a movie, I know what camera will make that look best, and I have ideas for future projects and stuff I'd like to build for those. I think it's just part of how I work, though.
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My job - and it's really true - is that it's constantly evolving and changing. When I was doing the Chet Baker movie I was obsessed with playing the trumpet, and to my absolute shock I haven't picked the trumpet up since we wrapped. It was so much work. I thought I was going to keep playing the rest of my life, 'cause it was fun, it's just a lot of work. And it's a really unique job that exposes you to a lot.
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Most movies are made today for teenage boys. Once in a while a good one comes along.
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If having true love and love that is expressive and free outside of work affects a project where you have to be restrained and in denial and fixed and closed off. This doesn't mean you go out and just destroy your love outside of your life and kind of mirror your movie.
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I'm that sort of weird guy who will watch a movie almost every day if I can.
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In Hollywood, whenever you do anything, it seems like there's going to be 30 of them. When I did 'Look Who's Talking,' people went: 'Oh but there's going to be this baby movie and that baby movie.' I can't worry about that. I can only do what I want to do.
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You can spend an extraordinary amount of time raising independent money to do a movie for very little means. I've done it with 'Pawn Sacrifice.'
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I don't want to tell them what to take away from a movie, I think a movie should tell that.
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When you have an actor on set who is playing themselves in a movie that is about the most cathartic, most traumatizing event of their lives, you don't even have to mention that.
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The biggest challenge in making movies, boring but true answer is money - you never have enough, so everything gets bootstrapped to death! I learned not only how to be better filmmakers because of it but better janitors, better drivers and better negotiators with cops who wanted to shut me down. You have to get creative.
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Filmmakers, they tell me they want to make movies. I say, 'Good, go out, buy a $500 camera, get some friends and make a movie. Don't go to Hollywood. Stay wherever you are.'
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But we all kind of knew we were doing a really good movie while we were filming it.
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Growing up in Vancouver, it's not like growing up in Middle America or the middle of Canada. It's a very movie town.
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Anymore cutting and the movie would be as silly as cutting a condensed Reader's Digest novel.
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Once you turn on the camera, making a movie is making a movie. I don't care if it's $9 million dollars or $50 million dollars. You have bigger toys, bigger set, actors who are better paid, but once you turn on the camera, it's director and performance, and I don't find a big difference.
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When I'm making a big movie, I miss and appreciate all the subtleties that come with making a smaller film that is more intimate, more personal.
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With each movie I have a different set of inspirations.
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The Japanese, despite the trade deficit and their ability to build fabulous automobiles, still think that a guy in a monster suit is all that is needed for a monster movie.
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I've never been a snob. It movie is just about stories. And I've never felt just because it's a big screen and you plop down your eight bucks that gives it a special meaning. It's just "Are you good at telling a story?"
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People don't realize how long hours are when you're shooting a movie.
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Historical truth and the marketing needs of the movie and television industry remain fundamentally incompatible.
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I've been training with my mixed martial arts guy as much as I can when I'm back in L.A., so if I could do another movie like I did in 'The Killing Game,' with Samuel L. Jackson, that would be awesome.
