Movie Quotes
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My main aim has always been to do good quality films with roles that have some substance. With Power and Beauty there were loads of things that I liked about the movie, which made me opt for it.
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If I wanted to have total control and be a dictator, I would do ice sculpture in my basement. If I want to make a movie, I'm going to work with 500 people, and I will have to work with their strength and their weakness.
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Remember Robin Williams's great work as the voice of the genie in Disney's 'Aladdin'? Because he wanted to leave something wonderful behind for his kids, he said, he did the voice for a cut-rate fee of $75,000, far below his usual $8 million payday. But then something happened: The movie became a huge hit, raking in $504 million.
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There's nothing I've ever worked on that beat 'Game of Thrones' - that's a 10-hour movie; they put a lot of money in it.
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You can dress it up, but it comes down to the fact that a movie is only as good as its script.
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A voice expressing emotion in a musical way moves on. It's like the finale of the movie 2001: A Space Odyssey (1968) - the world turns in on itself, as a universe unto itself, in the shape of one human being.
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This is my first experience working in a foreign movie, but the mechanics, I think, are pretty much the same all over; you still have to wait in the trailer.
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'Don't Look Now' is a masterpiece. I think it's the best-edited movie of all time. I adore it.
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I was named Margaret Yvonne. 'Margaret' because my mother was very fond of one of the derivatives of the name. She was fascinated at the time by the movie star Baby Peggy, and I suppose she wanted a Baby Peggy of her own.
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I hope the next actress offered millions to play the 'fat girl for the day' stops to think about this before she signs the contract - even if just to ask, like any professional actress would in any other situation, 'Why does she weigh 350 pounds? And why me for the part?' If the director can't answer these questions, don't do the movie.
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I think that making a movie is not just making the movie - it is also about having thoughtful ideas and embracing all the aspects of its launch.
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I won't call my work entertainment. It's exploring. It's asking questions of people, constantly. 'How much do you feel? How much do you know? Are you aware of this? Can you cope with this?' A good movie will ask you questions you don't already know the answers to. Why would I want to make a film about something I already understand?
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I find L.A. kind of romantic, actually. As a movie junkie, it's a city that was built by the movies. There's something really weird and surreal about it that I find energizing.
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I'm writing a movie about Mozart going to New York in the '60s. I've been reading so many novels.
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It's an odd thing to go to New York to shoot a movie that is set in Indiana.
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I think animation is like running a marathon, and making a movie is like a 100 meter sprint. The question is: are you a marathon man or are you a sprinter? I realized that I was more of a sprinter than a marathon man. With a long, long project, I get bored easily.
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I stepped into the martial arts movie market when I was only 16.
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I can't make a movie unless I believe in the themes behind it. I mean, that's the first question I ask myself, always, is, 'What is this movie about?'
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I think I want to pursue a movie career and maybe even pursue some theatre.
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The great thing for me about 'The Resurrection of Gavin Stone' is it's a throwback to the old fashioned Hollywood movie that you can watch with your family, has a message, and is funny and entertaining. They didn't call them faith-based movies; they just called them good movies.
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I have on my bookshelf a book called 'Movie Monsters' by Alan Ormsby, a kids' book I got when I was in kindergarten. It started there.
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Alan Cumming was such a fun guy to watch. I remember he has a song in the first 'Spy Kids' movie, and when Danny Elfman came to set, they were working on the song.
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His work isn't all glower. Even though he hasn't smiled in a movie since the underrated 'Proof' in the early 1990s, Mr. Crowe is given to a hurt swallow when he's uncomfortable and to a look of suffering in his eyes.
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As somebody who makes his living in the movie business and wants to contribute to it, I think that the best chance I have of doing that is just consistently working with great directors.
