Movie making is really, it's a director's medium, it's not even so much an actor's medium.
You have to decide what kind of story you're going to tell. For instance I would argue a movie like 'Toy Story 3,' which isn't realistic at all, is really emotional and involving. It just depends. I played this game called 'Superbrothers: Sword & Sworcery EP' for iPad that is totally old school 8-bit, which I found very moving.
When you make a 3-D movie you actually have to plan the way the visuals look because there's a parallax issue, and there's an issue of editing; you can't edit very quickly in 3-D because the eye won't adjust fast enough for it.
I sold my first script when I was 21 - this kids' adventure movie that never got made. I just bought that one back, actually. I'm pretty psyched about it.
I can't sit on my bum very long in a movie theater seat, and when I'm directing, I always want to move the camera or edit.
When you think about brands and movie studios and everybody who is trying to reach millennials, having a captive audience in the back of Lyft or an Uber is a pretty great place.
'The Dark Knight' is a really good movie that reached both critics and mainstream audiences.
I did 'Bridge to Terabithia' when I was around 6 years old, but for my first movie, I was 5.
I could definitely see myself making a serious movie or a drama in the future.
But 'Sixteen Candles' is the only movie I could watch over and over and over without getting sick of it.
When a movie opened - if you lived in New York, you would see it at Radio City Music Hall where it would play a couple of weeks, and then you moved on to the next movie. Now you can see it the rest of your life - it's going to be on Netflix and DVD.
A film takes a lot of time, and yet not enough to share with the people you're making the movie with, I think.
By being a waiter 100 percent, I think I was a lot like any other actor in New York. I had credits because I'd work lunches during the week, and then on a Wednesday would go be lucky enough to be in a movie like 'Kinsey.'
There is nothing more unpleasant than watching someone on a TV or movie set act like they are entitled to a particular kind of treatment just because they have been doing it for longer. We are all in the same boat - one job at a time.
I always tell people that to be the funny person in a Steve Martin movie is like getting a call that Keith Moon wants you to play drums on his record. He should be playing drums on his record.
When I got hired to do 'Guardians,' it was the dream of a lifetime for me. This is what I've been working towards. I've always wanted to create a space adventure, and especially a space adventure with a raccoon. Now that I'm finally able to do it, I created exactly the movie I wanted to make.
Sometimes Hollywood manages to knock a movie in its teeth so hard that it never manages to get back up.
My dad was a movie star. Having that name was good and bad. People think it's a silver spoon. It's not.
The cool thing about 'Transparent' is that the show is funny but not like a sitcom is funny. It all comes down to the writing... The writers on that show are so good that you don't have to worry about anything. There are so many things that can go wrong making a TV show or a movie, but if the writing's good, that's, like, 95 percent of it.
What I truly get excited about is not the genre of a movie or the size of a part - it's character. I like to find characters.
In the case of the 'Saint' movie, I did do some research. I visited a few shelters. But usually, my stuff just comes out. I don't have any control over that.
Every once in a while I go off to do a movie or a television series and I take my art with me. I can stay in character when I paint.
My priority is the script. Get me a good script, and I will sign the movie. I think I should leave the casting up to the experts!
I think that a movie can only be an adjunct or only a supplement to books, to different points of view, to scholars, historians and your own teachers.
Comedy and horror are cousins; they're related. They both come from storytellers who want to specifically affect the audience and elicit specific reactions during the movie.
I'm not a caterer. I just have to stay with my creative convictions. At some point, you have to just get past the special-interest groups and do what you're there to do, which is make a movie.
I don't like when you necessarily know that this is the end of the movie. I like when a movie ends abruptly. You go through this, and some of the scenes are uncomfortable, and some are funny - and then suddenly it's over.
It's easy to see why 'American Horror' is freaking people out. The ultraviolent hallucinations never pause long enough to make sense. In terms of coherence, it makes your average David Lynch movie look like 'Burn Notice.'
At one time, I would actually ride around to movie theaters to check the lines.
For some reason, it seems like pop writers, it's like they just get worse or something over time. And then you're really jealous of movie directors whose careers seem to grow and they'll be 70 years old and still doing these incredible jobs. I'm going to reverse that, I hope.
I always tell clients you have to be able to remember why you chose to do a movie: to always be able to look at a movie and know, whether it's good or bad, why you chose to do it.
When I was starting to get noticed as an actor in the 1970s for something other than the third cowboy on the right who ended up dying in every movie or episode, Burt Reynolds was the biggest star in the world.
After Zorro, people spoke Spanish to me for ages. I'm Welsh but that movie instantly gave me a new ethnicity.
'Red Planet' was a tough movie to make, and I learned a lot about myself. To me, that's a lot more interesting than how a movie does.
Sweating the small stuff is important in boxing and life. On a movie, we have production assistants who're 18 and 19 years old. If someone asks you for a cup of coffee, and you bring them a cup of coffee that's cold, I make a big deal of that. I make a really, really big deal of that. You have to pay attention to details.
I had two different kind of parents. My mother was obsessive with movie stars and cinema and Hollywood because she worked in movies. And my father was obsessed with beauty everywhere - in art, in nature, animals.
