Movie Quotes
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Everybody enjoys when a woman is her own character in a movie or otherwise.
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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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Are Christians too stupid that we can't write a script, we can't film a movie OR we don't know how to act?
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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.
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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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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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My dream was to become a very small blonde movie star like Ida Lupino and those other women I saw up there on the screen during the Depression.
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I certainly didn't want to make another movie that's 'just another Dracula film.'
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I'm a pretty funny guy, and I would love to do a comedy with a bunch of funny guys - movie-star guys, where they could help me through it.
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Adam Sandler is a remarkable movie brand.
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I was 18 years old when I booked 'Youth in Revolt,' and it was my first movie, and I was starring in that movie - and even then, I didn't feel like I had made it.
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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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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'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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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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When I go to see a movie, I never think about all the people it took to make it.
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The experience of making a movie is far removed from watching the end result. It's exciting, but it still makes me squirm.
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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'd love to do a movie like 'Bullitt.'
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I was very, very thrown by the fact that I had to make some big changes in my life in order to be myself, but under this kind of movie-star banner.
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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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I think that's what you're doing when you go see a movie... projecting yourself into that situation. The more you can feel or see the thoughts of the character, I think the more you can live in that world.
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Our fathers were actually business partners in the same real-estate firm, and we got together and thought, How can we get a movie together and get distribution and create a new movie genre? We started by making satires of commercials.
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Think about Medusa, with the snakes. If you shoot a movie in Europe, the financiers are three snakes, and they all have opinions. In Hollywood there are, like, 20 snakes.
