My dad was always taking photos of us at home, and even on set - he'd bring us along and stick us in the photos in the background. It was almost the beginning of acting for me, like, 'Hey, you go over there and play basketball in the background, and don't even think about the camera.'
I can feel very brave through all the action scenes in front of the people who are on the set, but when a girl comes close to me my face turns red because I'm so shy.
I have the luxury of getting up quite late, so I hardly ever set an alarm clock.
As a man grows and increases in the things of this world, if he is not careful, he will lose the Spirit of the Lord, and he will set his heart upon the things of this world.
I distributed my wealth among my children and set aside a portion for endowment to run charity projects.
'All the Stars in the Heavens' takes place during the golden age of Hollywood, around an imagined story about Loretta Young; Clark Gable; Alda, a young woman with a secret who is preparing to become a nun but is cast out of her convent; and the scenic artist she meets on the set of 'The Call of the Wild.' It's a big, lush historical novel.
Writer/directors are, for me, the most inspiring people to work for because they are the person on set that knows the answer to all the questions. They have the most invested in the project because they've been with it from conception.
Writing has taught me a lot - though far from everything - about writing, so as time has passed, it has become more pleasurable if not easier. I've done other things in life, but writing is by a factor of 10 the most difficult among them. And, of course, you never achieve what you set out to achieve, so you must keep on trying to do better.
My parents came from Calcutta. They arrived in Cambridge, much like the parents in my novel. And I found myself sort of caught between the world of my parents and the world they had left behind and still clung to, and also the world that surrounded me at school and everywhere else, as soon as I set foot out the door.
I feel that being an actor is a front-row seat into seeing how everybody else makes their movies. Basically, being in the trenches for ten years is like a college-level course in filmmaking if not more. It feels like every director I work with and every set that I visit as an actor, I see someone else's definition of filmmaking.
I don't have a set image. In fact, I would be curious to know how someone slots me.
I think life on the road really suits very egotistical men. It's set up for kings.
I like Michael Moore, but I think of him more as a rabble-rouser. On his TV show, when he went to the home of the guy who invented the car alarm and set off all the car alarms on the block... pretty funny.
I wasn't brought up as a society girl to go to balls and be a debutante and marry the social set and money and go to parties. No one in my family lived like that. And I never wanted to live like that. I was brought up to believe in work. I always wanted a career. Always.
It's like I tell everybody, if you get a chance to win the Royal Rumble or the King of the Ring back when they had it, that means you're gonna get a push. You getting an opportunity at something big, and it can really set up your future for you. So if you're that guy, boy, it's pressure.
I remember when I drove into Notre Dame, getting ready for the first day of work. I had an electrical charge go up my back because I realized all of a sudden that I was responsible for the traditions that the Knute Rocknes and the Frank Leahys had set, and what Notre Dame stood for.
When I was young and the empire was beginning to disintegrate, the idea was absolutely unbelievable, particularly to children who'd been taught that the sun never set... that's what all my books are about, the end of empire.
I've personally been involved in movies where people on set were talking about awards for the movie, and I bought into the hype. And then the movie would come out, and not only was it not good, it was horrible.
Those who set out to serve both God and Mammon soon discover that there isn't a God.
When I was working with Barry Sonnenfeld, I'd watch him set up a shot and talk to him about what he was seeing and what it was to shoot comedy. He told me that a lot of times with comedy, it's not just about getting the joke, but getting a reaction to the joke. That's the laugh - it's somebody's else's reaction to the joke.
You need to set a tone at the top that inspires trust - and encourages open and honest 2-way communication. So you hear the brutal facts, and you listen to the good news and the bad news - so that, in the spirit of continuous improvement, you can make changes.
I got fired when I was a dishwasher at Denny's. That set me back a little bit. You don't realize how important dishwashers are until you do the job.
I start with the music before I start writing the movie. It's such an important part for me, emotionally, to set up the tone for the movie.
As an adolescent I wrote comic books, because I read lots of them, and fantasy novels set in Malaysia and Central Africa.
But again, we, I think, over the years have set the example for a lot of nations that may not have had the same values, the same type of coming out of the same culture that we as Americans have and enjoy. But we can be an example, a role model for them.
I was very lucky - I grew up with two parents who loved each other and gave me unconditional love. They set high expectations for me, and they gave me an infinite amount of support. So I stand on their shoulders; I follow their example in every way.
Back in the days, we had to work with a shoestring budget. We had a movie screen, and we'd show movie trailers on them, and then we'd rip through it and started playing. Now we have a little money to play with to do a cool stage set.
When I'm on set, I know what I want.
There is a lot to say about what Bikini Kill and other 'riot grrrl' bands were able to achieve when they first set out. They were not some momentary, convulsive, creative spasm of independent music. There was a very real, relevant point of view being expressed.
I'm trying to be a good parent and set a good example. When I'm on the road, they don't see a lot of me. I see them every other day. It's pretty all-encompassing when I'm on the road.
One of the most precious parts of acting is the work before you show up on the set, the time you spend being with your character before you bring that character to life. To me, that's the most rewarding part of it all. It feels very good to show up on a set just knowing that's with you.
In everything I do, I like to set the idea for girls that they can do anything. I was really moved by Hillary Clinton's speech when she lost the election - she didn't want young girls to feel like it wasn't possible and wanted them to know a female president will eventually happen. That's important.
In the U.S., it's like, you start with a great script, and then on set - not everybody, but definitely in the Apatow group - you go off, and you're improvising on camera. So while you're on camera, you're saying things that no one else has ever heard before during the actual take.
Strategic partnership is based on a shared set of values.
I don't even know what Instagram is, All of this high-tech stuff is supposed to set us free and make life easier. To me, it makes it more difficult and demanding.
My goal is to die in my 90s on the set, say, 'That's a wrap,' after the last shot, fall over dead, and have the grips go out and raise a beer to me.
