Zitat des Tages von Joe Carnahan:
With 'The A-Team,' it was like, 'Alright, I'm going to do a big popcorn movie and see how that feels.'
I did a pilot for Fox years ago called 'Faceless,' with Sean Bean. I always thought it was such a cool show because it was really raw. I thought we were pushing it. This was back at a time before there was the 'cable standard.'
I always look for... hopefully look for a challenge. And you're always looking for the next summit to hit. Even if it's a personal one. It needn't be some great sense of monumental... It just has to be important to you and big enough and special enough and individual enough that you get up for it. And that can be anything.
I was not a gigantic fan of 'The A-Team' as a kid. I was a huge 'Miami Vice' fan. So for me, not necessarily to say that I put a 'Miami Vice'ish spin on 'The A-Team,' but for me, what I was most intrigued by was this notion of these four guys, these four kind of special operators.
If I can do a romantic comedy with women, that's Everest to me.
Regardless of the medium, be it television or feature or documentary, I'm not gonna distinguish and worry about my particular canon, whatever that means.
'Raising Arizona' is maybe my favorite comedy of all time. What's great about it is that as slapstick as it gets, it has great moments of emotion and caring. Them bringing the baby back and Trey Wilson's character. I love that, man.
To me, the bones of 'Smokin' Aces' is in the Coen brothers. 'Barton Fink' and 'Raising Arizona.' Those two movies, if you look at them, that's where a lot of that comes from.
There's a duality of a guy calling on God: 'Where are you when I need you?' and then, at the same time, 'God helps those who help themselves.' I think that contradiction does exist in all of us, those of faith and those who profess to have no faith.
I obviously love 'The Grey'; that was a pleasure to make. It was also very difficult. Listen, I love 'Smokin' Aces.' That was a lot of fun to make. Completely different part of your brain, I guess. Some would argue the part that they don't want you to use.
I always thought that as much as I love 'White Jazz,' it became almost unfilmable at some point, because there are so many strands, so much, and it became so psychotic... that's what made it such a great book, but those things would not carry over into the filmic realm, I thought, with ease.
There's a vast difference between marketing a movie and the movie itself. You try to cast as wide and broad a net as possible.
In terms of big spectacle, I thought 'Captain America 2' was phenomenal. I really loved that movie, and it was a great movie as a stand-alone.
I love the ambiguous kind of endings. I think, oftentimes, that's what life really is - there's no concrete path for you to take. It's always kind of a jumble of variables. Behind this door could be a beautiful woman, and behind the same door could be a tiger, you know? You don't know.
You can't stand at the Bellagio and watch these seven story fountains and not go, 'That's something of extraordinary man-made beauty.'
I wish I'd made 'Warrior,' and I wish I'd made 'Drive.'
I'm pretty rigorous about the drafts I turn in. I don't turn in something that's so ungodly they go, 'What the hell is this?'
Early '90s, I was big, big into Sinatra. I was in college. I was fascinated.
It's like I don't have any one genre, I guess. I think you'd be hard-pressed to get me into a rom-com, but who knows?
To be honest, most of the time you leave the theater, and you're like, 'Well, that was nice, but where did I park?' It doesn't really stick with you.
There's a film that I wrote that I want to do called 'The Grey,' which is about a group of pipeline workers in Alaska flying back into civilization after being remote for a number of months. The 737 they're on goes down, and they begin to be hunted by a pack of rogue wolves.