Zitat des Tages von Steve Buscemi:
The director I had most involvement with was Alex Rockwell. He gave me a lot of responsibility as an actor.
My favorite review described me as the cinematic equivalent of junk mail. I don't know what that means, but it sounds like a dig.
Bob Altman had this relaxed but serious attitude. Everybody loved him. I wanted him to adopt me.
What was frustrating about Armageddon was the time I spent not doing anything. It was a big special effects film, and I wasn't crazy about pretending I was in outer space. It feels ridiculous.
I think it's important to create an atmosphere where actors feel like they can try things out. It doesn't mean that I'll take every suggestion, but I want there to be some room for actors to grow.
I usually get freaked out if I'm in a situation where a lot of people recognise me at once.
It doesn't matter what part I play, I try and commit myself 100 percent.
Anything you write, even if you have to start over, is valuable. I let the story write itself through the characters.
I love working with Scorsese. He's not only a brilliant director and is great working with actors, but he's also a walking human film encyclopedia. It's fun to talk about movies with him.
I'm terrible at story and structure, but I'm not so bad at writing dialogue.
I never did improv professionally, but that was certainly in my training as an actor. I like it.
I didn't really like the aloneness of doing stand-up.
Shooting in sequence, I think it intensifies everybody's relationship, the crew, the actors. You have to be very focused, and shooting at night is a challenge because you get tired. I think it requires a special kind of concentration, but it's also exhilarating.
I was very surprised that for a while I could only get cast as straight. It was that way for a few years.
In the beginning, it wasn't even a question of deciding I'm going to do independent film and not commercial films - I wasn't being offered any commercial films, and there wasn't an independent scene.
When I was in pre-production for Trees Lounge, I was hearing the cinematographer talking with the production designer about colours and this and that, and feeling like I was losing control.
I never made a daring rescue, which is the story people want to hear. I did go to my share of fires.
Communication is the key, and it's one thing I had to learn-to talk to the actors. I was so involved with the visual and technical aspects that I would forget about the actors.
I didn't really like the aloneness of doing stand-up. The comedians by nature weren't very - I mean, they were sociable, but they hung out in cliques, and it's very hard to get accepted; lots of competition.
It wasn't until my senior year in high school that I started acting.
I'm not so in a rush to direct just anything because I'm lucky that I can make a living so far as an actor and not have to worry about that as a director. And so I can be a little more choosy in things I direct.
I had a magic kit. I never really followed through on it, but I had my phase of wanting to do it, sure.
Trees Lounge is based on my own life. Both my parents like the movie. My father, of course, thinks it's a masterpiece.
All the roles I play, I don't see any of my roles in films that they're typically leading men.
I've always tried to have a healthy take on the characters I play; they are only characters I play.
I like the struggles that people have, people who are feeling like they don't fit into society, because I still sort of feel that way.
Directing television is really hard - it's so fast. You shoot an hour show in seven days.
My real training as an actor was when I started doing theatre.
Casting is everything. Getting the person that you imagined is this character and then seeing what they bring to it.
The trend now is to shoot in Canada because it's cheaper, and they don't care what the location is.
When I get cast, I always flip to the end of the script to see if my character gets beaten up or killed.
It doesn't matter to me what the genre is.
I did stand-up. I loved George Carlin and Steve Martin.
I don't think it's necessary to be an actor to get great performances out of an actor. But I do think it helps me as a director because I know what I like as an actor, and I try to get that to the actors who I'm working with.
With Animal Factory you'd think that because it's mostly interiors, you could shoot it anywhere. So we shot this in Philadelphia, and we had the cooperation of the prison system.
To me, it doesn't really matter how big the part is as long as the part is important to the story.