Movie Quotes
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'Con Air' was kind of a turning point for me, in my mind. I never shot anybody in that movie – I never did anything bad – because there were so many bad guys in that movie. I said, 'The hell with this, I'm just gonna be a lovable guy.' I'm like Steve McQueen in 'The Great Escape.'
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To have a second movie that you're proud of and that actually turned out the way you wanted, shot by shot, I realize I'm probably going to be able to do this for a little while for my living.
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I stopped doing that [photojournalism] and wrote some screenplays on speculation, because even though I wanted to direct, to direct you need a lot of money. Even for a cheap movie, you need film stock and equipment and actors.
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Sometimes when you have a song, you listen to it and say, 'It's OK. It's music to drive to.' But then there are songs where you can actually hear it as a movie.
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So I'm a one movie at a time person, I don't develop. Normally we do a movie then one thing leads to another. If something pops up that catches my attention, then I'll decide.
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I’ve said many times that statistics reveal a surprising city: one that has more movie theaters than Paris, more abortions than London, more universities than New York. Where nighttime has become sparse, desolate, the kingdom of only a few. Where violence rules, corners us, silences us into a kind of autism.
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When somebody is making a movie about your life, that's different. A show is a live performance. Things are going to go wrong. You are going to get away with things. A movie is indelible. A movie is through a microscope.
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I've seen 'Silence of the Lambs,' like, fifty or sixty times. That's my favorite movie of all time.
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I feel like my brain is more geared towards a novel than it is to a movie.
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Cannes is a sort of gladiators' arena, and that's the fun part of it. When you accept to come here to open the festival, you know you are going to be criticised. I have no problem with the fact that I expose myself and the movie, and it's normal that I can disagree with the way some people feel.
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Trust me: you make a movie about time travel, and you know for a fact humans will never travel through time. The paradoxes that come up just from trying to tell a story with time travel really illuminates the fact that it's impossible. It will never happen. We can barely get through a movie that involves time travel.
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I went to Phoenix, Arizona for 'Angel Unchained,' and they'd hire the bike gang from Phoenix to be extras in the movie.
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I feel like I could carry a movie or a show, and I'll mess up here and there, and I'll learn from those things.
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After I made my hit in 'Salome,' Universal sent me to New York so I could learn to be a proper movie star.
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Have you read 'The Grapes of Wrath?' That was my family. My dad was a sharecropper in western Oklahoma. When the dust storms came and everything got wiped out, they came to California. The guys with the mattresses on the tops of their cars in the movie? That was the way it was.
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I make up stories in my head all the time, but I've never written them down. But I write a lot of story songs. Any song I'm singing, I sort of see it like a movie in my head. That's why a lot of times I close my eyes when I'm singing.
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We've had really good mainstream publicity for these books and both Wanted and Chosen were snapped up as movie deals before each series even ended so I'm honestly just pinching myself.
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There's no point in making a movie just to be making a movie.
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At the moment I'm doing this space movie, so I'm obsessed with physics and space travel. I know three months down the line it's gone. Then I'll be able to superficially say stuff about space.
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Sometimes it's very difficult to do a movie that's good and then have that movie make it to the light of day.
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The journey of your first movie is not just beyond belief it can be truly beyond satire.
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I am capable of holding the quote-unquote 'title' of leading man. Leading man just means people want to see you and assume that you can hold a film, carry a movie.
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Unless you're a big movie star, regular television work is going to bring you more exposure than anything. Everybody has a television; not everybody goes to the movies.
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When you're drawing something, you kind of run a movie in your head. You might close your eyes or stare into the distance and kind of see a movie unfolding and, you know, grab a certain moment or think, 'Oh, yeah, that's when we need just the point that he appears around the corner but just as she's getting into the car,' you know?
