Movie Quotes
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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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My dad took me to my first movie. It was 'The Greatest Show on Earth' in 1952, a movie of such scale it was actually a traumatic experience.
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Making a movie in Hollywood is a bit like playing a board game, where you have to throw a six to start.
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Although I'm not actually embarrassed by this, I tend not to read books that have awesome movies made from them, regardless of how well or badly the movie represented the actual written story.
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I learned so much from other actors and they definitely didn't treat me like some sex bomb or bimbo. I felt fully accepted in the regular movie world. I didn't feel categorised.
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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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People would say to him, "When you finish a movie, did it come out as good as you thought it was going to?" Or, "Did it come out the way you intended it to come out?"
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You have to have somebody to root for. I truly believe that's how you ground a movie. You ground them in the characters.
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Very often, things that people may think come from the writer, very often don't. There's a lot of cooks in the kitchen when it comes to making a movie. When you hear a line of dialogue that sounds kind of tinny, it's pretty easy to cite the screenwriter. But there's a lot of stuff that goes into making a movie.
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I get confused between the rock and roll thing and my movie star thing... We're f - -ing movie stars.
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I've spent several years in Hollywood, and I still think the movie heroes are in the audience.
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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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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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When I was 17, I had a small part in the movie 'Election,' which shot in Omaha, Nebraska. I was really naive at the time; I really didn't know what a big deal it was.
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We live in a violent world, but since the success of films like Pulp Fiction, it seems every movie has some violence in it, and it's now being used as a form of comedy: audiences are now being encouraged to laugh when people get their heads blown off. I just don't like hearing people laugh at violence.
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I really liked the Jean-Luc Godard movie, 'Film Socialisme.'
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If the movie's not communicating, it's not working.
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When I was growing up and somebody like Robert De Niro had a movie come out, it was a cultural event. Because he had such a confidence and a single mission that was so intimate.
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I realized why movie scores are mostly strings, because it really frees your eyes to look around.
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If you're playing a lead, you're shaping the movie. When you're playing a supporting role, you've got only a moment to make it count.
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When you're doing a big movie, you're gone for 10 months to a year.
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More actors in action movies should be gangly because that way it's believable when they move through tight spaces.
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The stuff that I've been doing lately is political. It's not always about people who are super famous movie stars. The fact that people are still taking a chance and listening to the blacklist episodes is really exciting.
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Duets is about six people, so it's like three different movies - three different duets. I was on the set 18 days, spread out over three and a half or four weeks.
