Movie Quotes
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It means nothing if the movie doesn't get out there.
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I recently found out about this other super movie star. He only works from about 11:00 to 4:00, so all his movies take like 120 days. But this was a lot of stuff to do in 35 days.
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There are wonderful films that become studio films, but they're conceived independently. That's where the action is. 'Being John Malkovich' is a great example of a picture you wouldn't think the studios would want, and it turns out to be a movie that touches everybody's heart.
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No matter how much you've done before, you wonder if there will be a light at the end of this particular tunnel. It's the nature of the beast, and it's a part of what compels us. Every movie is a new lesson you learn making your way through it.
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If I were to do a movie about Apollo 13, I'd be at NASA studying what it took to go into space. It's part of your job to go deep, to interview the right people.
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Capra is an old-time movie craftsman, the master of every trick in the bag, and in many ways he is more at home with the medium than any other Hollywood director. But all of his details give the impression of contrived effect.
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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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'Henry V' is a great deal more than almost any other hell-bent-for-armor movie that you've seen.
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I tried martial arts classes for three weeks, but I quit because you actually get hit. I just want to do the movie kind of martial arts.
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When you're relegated to go from movie to movie, so much of what you're doing is out of your control beyond creating the product.
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I play the father in the scene when Will and Tommy go back to Tommy's old apartment. It was a big mistake. I hope not to be in the next movie I direct.
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I got a chance to work with Mel Brooks on two of his films: Silent Movie and High Anxiety.
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The acting bug just seemed to stick with me. I loved going to theatre school in college and continued to train in film classes and had been auditioning for T.V. and movie roles since I was in my late teens. My career has been slow and steady, and I kind of like it that way.
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Every actor has to deal with what's on his plate, and I try to deal with doing the best work possible with the most challenging scripts. I don't base it on whether it's a feature film or a TV-movie or cable.
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The idea of it becomes a little freaky if you're dealing with someone who has trouble differentiating between fantasy and reality, but that's a concern no matter what kind of movie you're dealing with.
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To adapt a play into a movie, you have to change it.
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I usually decide if I'm going to do a movie based on if I like the script or not. I thought 'Pulling Strings' had every single element that a classic romantic comedy needs to be a success. It's very well written. The cast was amazing. It was a decision I made based on the power of the script.
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I hate when a movie just sort of ends and is so open-ended you feel like it wasn't finished. I appreciate leaving things up to the interpretation of the audience and letting them make decisions about where things will go in the future - but the director has to make a decision; otherwise it is sort of a cop-out.
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If I am writing a movie and I am stuck, I can call the studio and tell them it's delayed. You can't do that with television - you have air dates to meet.
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I've always wanted to do a boxing movie.
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When you direct a movie that makes no money whatsoever, there is no rush to your door for the next one.
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The amazing thing is that the more money it takes for a movie to get made, the more you feel like everybody wants you to fail.
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A movie is about human beings, about humanity.
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I chose 'Mr. & Mrs. Smith' specifically 'cause I had just made 'The Bourne Identity' and made a film that glamorized being an action hero, and I wanted to make the exact opposite. I wanted to make a movie that glamorized maintaining a marriage, and that made the action hero part seem easy and made the marriage part seem hard.
