Movie Quotes
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I would say 'American Werewolf in London' is like an unconventional buddy movie: even if the buddy dies 20 minutes in, he still remains throughout the picture, and their partnership is one of the best things in the movie.
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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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Anybody who comes to the cinema is bringing they're whole sexual history, their literary history, their movie literacy, their culture, their language, their religion, whatever they've got. I can't possibly manipulate all of that, nor do I want to.
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My mother, Nancy Dickerson, was a reporter for CBS and NBC and the first female star of television news; my father, Wyatt Dickerson, was a successful businessman. Their parties, from the '60s to the '80s, attracted cabinet officials, movie stars, and presidents.
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My experience is that there's absolutely a correlation between the enthusiasm within an animation studio for a given character and the enthusiasm the audience feels when seeing the movie.
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I was not put here to be a background character in someone else's movie!
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I notice now, whatever character in whatever movie you're watching, they have these toned arms and muscles.
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I don't hang out with movie stars, and you won't see me going to many Hollywood parties. I'm actually quite boring.
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If there's a role on a TV show for me, I'll take it. If there's a role in a movie, I'll take it. I just wanna act. That's all it comes down to.
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I put the movie days totally behind me... It was a part of my past that I really kind of put in a little drawer and shut the door.
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I would like to have a movie under my own control sometime, and see what could be done with it. Who knows? Maybe Hollywood will make an improvisational movie someday.
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What I've learned is sometimes it's good not to have all the same actions and have all the same takes. The variety you provide gives the director later on in post-production the ability to construct a more interesting performance as he puts the movie together.
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The way that I look at it is that, when we film for eight months straight for a new 'Jackass' movie, I know that I'm going to wind up with at least two broken bones. I don't know when it's going to happen, but you can't contemplate how you're going to fall and what's going to happen.
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'Mrs. Doubtfire' is still a fun movie, and it's still fun to watch, but it is hard to watch myself sometimes. I get very critical. And people will say, 'Mara, you were five.' And I'm like, 'Yeah, but I still should have known better!' I'm a lifelong perfectionist, what can I say?
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I'm in kind of a strange position - I have a strong Australian career and a strong British career. Then there's the American career. For every movie I do here, I do two somewhere else. I bounce back and forth between the three places.
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I suppose where I am sort of reflects the work I have chosen to do. Are there occasional frustrations because I can't work with a certain director because it's a big studio movie, and I don't have enough of a studio profile? The answer is yes. But generall... generally, I have the career I have chosen myself.
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You don't make a movie by yourself; you certainly don't make a TV show by yourself. You invest people in their work. You make people feel comfortable in their jobs; you keep people talking.
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I did movie star impressions as a kid in high school. Somehow they just got out of hand.
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All of my problems are rather complicated - I need an entire novel to deal with them, not a short story or a movie. It's like a personal therapy.
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An effective found footage movie is much harder to make than an effective traditionally shot movie. A crappy one is much easier to make because you take your camera, and you shoot the scene, and you're done. But to make it effective, they're actually much trickier.
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The movie is not that violent. There are ideas in the movie that are scary, but the film isn't about violence, the glorification of violence or the embracing of violence. In the movie, violence is a metaphor for feeling. It's a film about the problems or requirements involved with being masculine in today's society.
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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.
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At the end of the day, the less money you have, the easier it is to make a movie.
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I love David Lynch's 'Mulholland Drive;' such a wonderful movie.
