It's a very difficult thing for people to accept, seeing women act out anger on the screen. We're more accustomed to seeing men expressing rage and women crying.
Green screen's not my favourite thing to do.
Fifteen years before I became a screen actor, I was in the theatre. A lot of my work was comedy, which I loved doing. It's harder.
I'm a good son, a good father, a good husband - I've been married to the same woman for 30 years. I'm a good friend. I finished college, I have my education, I donate money anonymously. So when people criticize the kind of characters that I play on screen, I go, 'You know, that's part of history.'
Chazz Palminteri is just the ultimate screen husband.
At the end of the day, it is just a movie, and we should remember that we're doing it for the audience, and we should have fun doing it. If we have fun doing it, it will come across on the screen.
As a dancer, it's hard because there's such a perfectionist quality that you really have to let go of while you're acting, because nobody wants to a watch a perfect person on screen.
I had to find my way of translating the excitement you get when you're reading comic books to the big screen.
I've worked with actors before where I was like, this is not working, and then I've seen their work on the screen and I've been like, Wow, that was a really great performance. Because there are a lot of elements with film. It's not like stage. It's not a kind of performance art anymore; it's a highly tuned kind of collaboration - a symphony.
I mean, there are some amazing storytelling being done on the small screen right now. That's what so cool about being in television right now. Studios, networks are starting to throw more resources, better writers, more production values... and to be part of that is awesome.
I knew exactly how I wanted it to play, but you are never sure until you watch the projected images reflect off the screen. That's when you know it worked.
By the way, it was his simulations that helped out in Jurassic Park - without them, there would have been only a few dinosaurs. Based on his techniques, Industrial Light and Magic could make whole herds of dinosaurs race across the screen.
I go through a whole process with the actors first, building and creating characters, then I encourage them to sort of live in that character when they're in the screen.
It sure looks good to see an honest-to-goodness audience after looking at you all for so long from the silver screen.
I know I'm old-fashioned, but there's just something about the act of looking at books versus taking in information on a screen, which is so one-dimensional. There's a sense of ownership that you have with books, a physical connection.
I was the last one to screen test for The Hardy Boys. I'd like to play that's not as clean-cut as Frank Hardy. I play him as straight as possible.
The idea is to be different with every film, and I'm glad my mother and my brother, who were sitting besides me during the screening of 'Ek Villain,' forget it was me on screen after the first 15 minutes.
I don't look in the mirror; don't like what I see; never have. I am not my idea of a beauty. Never was. This is not false modesty. I've just never been enamoured of my face, which of course is magnified umpteen times on screen.
For actors, we always feel like there shouldn't be any divide for anybody. The industry is the one that kind of creates the idea that if you're such-and-such an actor, you can't be on the big screen.
We've suspended the willing suspension of disbelief. We have given up that relationship, that almost hypnotic engagement, with the characters up on the screen.
I would love to work with Shilpa again. But it would have to be for 'Dill Mill Gayye (DMG)' - that's the only fiction show I'll take up on small screen. I'm extremely faithful to that show. That apart, I'm not likely to do anymore fiction on TV for the time being.
I think American audiences are open to people with accents and different nationalities being on the screen.
I'm not really a big X's and O's guy, but if you want to go there, I'm more of a space-the-floor type of coach: Five out, zero in, and that's the way we play basketball, screen and roll here and there, pocket passes everywhere; it's what it's about.
Netflix is distributed in 50 countries around the world. It's an incredibly affordable, well-distributed product that gives anyone with access to the Internet and a screen access to content in a very affordable way.
Our goal is to have YouTube on every screen - to take it from the PC to the living room and the mobile phone.
For me, it is important to pick up characters which I can relate to. Or I recall an incident in my life or tap into my innermost emotions and try to bring that reality on to the screen.
As far as I can see women who have facelifts don't look younger, just weirder. You see them on screen with these tight, little porcelain faces - then the hand goes up to the face and it looks like it belongs to an alien. I find it really freaky.
I love movies, of course. 'Terminator 3' and 'Bad Boys II' - lots of action. Sports movies, action movies, comedies - I'll go to those, but not 'las de amor.' Not romance. It's not that I don't like love, but on the screen it bores me.
Not intending to be funny: I sit at the keyboard, put my fingers on the keys and go. To me, it's the real secret of writing. Put yourself in front of the screen or the blank sheet of paper and get to work.
Just because someone can sit behind a computer screen and have a different name and hide themselves, they feel like they can do anything to anyone.
I wanted to be an animator originally. I went to art school; I went to art college and everything. But that screen was just calling me.
It seems that we're heading toward the day that films will be released in all platforms simultaneously, albeit with a cost premium to see it at home. But I hope that theater-going doesn't end - I think that watching movies on the big screen with an audience is still the best format and also an important one for society.
Audiences make their minds up about people they see on screen, just like they do in real life. That's what fascinates me in film. You see a character and have to think: is this person different to what I assumed he was when I first saw him?
The Screen Actors Guild numbers are frightening: Something like 90 percent of the roles are for men, 5 percent are for livestock and 5 percent are for women.
After two terms as California's Governator, Schwarzenegger slipped comfortably back into pictures with 'The Last Stand,' a modern Western, then crammed into the wide screen, as if it were a service elevator, with fellow '80s muscle car Sylvester Stallone in 'Escape Plan.'
I would love to share screen space with Pawan Kalyan.
