Movie Quotes
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I can tell you, if you shoot in the rain you're going to have a lot of voice ADR to do after the movie and voice looping, stuff like that.
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'Smurfs' just seemed like a great way to represent a young father to be, guy in a marriage, work in conflict, and I was really interested in the technical CG side of things. I'd never done a movie that I thought would be so physical and yet so precise. So I was intrigued by all of that.
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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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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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I went to underground music studios. In the studios, I learned that you can make a movie without a permit.
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As movie monsters go, zombies are the most human. They were human at one time. So we are confronted with ourselves in a way, which is much more frightening and disturbing.
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I did nine months in 'Mrs. Klein' in New York, then four months on the road. Then I did a movie directed by Philip Haas, who did 'Angels & Insects'. We shot 'The Blood Oranges' in Mexico for six weeks.
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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 would've been a really big silent movie star.
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My agent says that I'm a 'repeat business guy.' If you hire me to come do a movie, I'll be on time, know all my material, be ready to go, have a good attitude. I'm here to work, so I get hired over and over again by the same producers. If you just be a team player on set you can work so much more often.
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I've made it my mission to make movies starring African American actors and about the African American experience and put them in the mainstream. They're very universal stories I've told - every movie I've done.
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A movie set is like a petri dish for neuroses, you know? It's just, like, egos and weird personalities and, more than anything, fear.
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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 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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I think that building any product that has a lot of user loyalty is a bit like making a sequel to a great movie or video game - people generally want 'more of the same thing, except better and different.'
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Details are the only thing that separates one movie from another.
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Heart of America is a movie I'm very proud of. The young actors are great and the story has impact.
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I'm still learning a lot as a songwriter. I try to write down and make a note of ideas that I cross paths with on a day-to-day basis, whether it be a conversation or something I hear on the radio, seeing a movie, or just thoughts in my head as I'm walking down the street.
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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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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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I am strictly against remaking a movie.
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There's this lingering philosophy that movie stars shouldn't do TV.
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The same way you can see me sit at a table in a movie and be six different people, the mother and the uncle and all these different things, when I'm in the studio, I can do that, too. I'm not trying to be a recording artist and have a certain type of music for the radio.
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From a child, I knew I didn't have the face I wanted to have. My mother was a baroness. She was from Berlin; she was a silent movie actress and friends with Marlene Dietrich. So she knew all about film make-up and prosthetics and stuff like that and what they used to do in those days. And she taught me all that as a child.
