Event cinema is what it is, and I understand why it's successful. It started with things like 'Jaws,' which are extraordinary movies. But what we've lost are great character films which are beautifully directed and had great movie stars in them. Films that were about something rather than about spectacle.
I enjoy the TV series 'Dexter,' where there's a reason for every kill. Quentin Tarantino is a favourite, and a 'Kill Bill' action-packed movie would be up my street. I'd love to be India's first scream queen!
I have held the following jobs: office temp, ticket seller in movie theatre, cook in restaurant, nanny, and phone installer at the Super Bowl in New Orleans.
The Indonesian brands aren't interested in sports people, only movie stars, because they can get more exposure in the media.
My favorite sci-fi movie of all time is 'Close Encounters of the Third Kind.'
I don't think I could have made a good movie out of 'Thor 2' because I wasn't the right director. And I don't think I would have been in the running for 'Wonder Woman' as a result. And that's one of the reasons why I'm glad I didn't do it.
I hope the next actress offered millions to play the 'fat girl for the day' stops to think about this before she signs the contract - even if just to ask, like any professional actress would in any other situation, 'Why does she weigh 350 pounds? And why me for the part?' If the director can't answer these questions, don't do the movie.
I was raised with James Bond. I love James Bond movies. I would love to do a James Bond movie one day. Action is very cinematic.
I'd like to be in a Spike Jonze movie. But I live in a Nancy Meyers movie.
I've seen movies that are slavishly devoted to books but don't work because they haven't turned it into a movie: they've turned it into a dramatisation of the different scenes.
Bernard Herrmann used to write all his scores by himself. So did Bach, Beethoven and Stravinsky. I don't understand why this happens in the movie industry.
You are always hoping that movie audiences are interested in characters and interested in story values rather than just mindless special effects. But you never know.
I've been treated really well for 'Stick It.' There was this cop and he pulled me over and he was like, 'Oh my God, you're in 'Stick It.' I said, 'Yes. Yes. You're the last person I would think would be pumped up by this movie'. He let me go, so that was nice.
When people say hello to me, I feel like maybe I know them from somewhere, because they say, like, 'Hi! How are you?' And I'm like, 'Oh, hi!' And then I realize, 'Oh, no, they just think they know me because they watched me in a movie.' Which is cool, but definitely not a normal thing.
My dad was in the movie 'Moonwalker,' and I knew he could sing really well, but I didn't know he could act. I saw that, and I said, 'Wow, I want to be just like him.'
I have a theory. An audience doesn't need to get wrapped up in blackness every time they see a Negro actor. And a movie doesn't have to be about race just because there's a Negro in it.
The more I see of the movie business, the less I understand about it. I have no idea what goes on with that stuff.
When I make a movie, I don't break it down and analyze it. I could but it would get in the way of doing a job - on instinct based on all the research we did going in. you want to trust yourself and your director and your acting partners in the circumstances you're shooting. I don't like to have any kind of overview.
The whole idea of going out to a movie was really a secularized version of going to church.
We make a lot of movies that I don't think merit a wide release. We have this label called Tilt, and we have the movies come out on that, and that's fine. But it shocks me when, having done this a few times, when I really believe a movie should get a wide release, and I struggle to get it released. That does surprise me.
I kept thinking, 'How do you make a modern musical?' Then it became clear that I could do it just like a small indie art-house movie, very naturalistically. I could create a world where it's o.k. to break into song, without an orchestra coming up out of nowhere.
I know the Academy Awards are all about the art, and love, of movie making. But I have to say, my favorite part is the dresses!
I've always found that no matter how much you spend on a movie - you can spend sixty dollars or sixty million dollars - if the movie's good, it's good.
If I can sell out clubs and theaters and play dirtbags in movies, and get blown up in a car or get the crap beat out of me in a movie, that's good for me; I'm good.
Every movie I've done, when they cast me, they knew I'd probably do it for a toffee apple and a Frappuccino.
If you think about movies that are adapted from books, they never feel like enough. There's always too much cut out in the end. You either make a five hour movie or you leave out stuff that should be in there.
I would love to work with the great movie actors of our time.
Celebrity is ridiculous and silly and it's mad that people like me are listened to - you know, rap stars and movie stars.
Chick flick is not a term used to praise a movie. Nobody says 'it's a great chick flick.' It's a way of being derisive. I'm not clear why it's ok to do it.
I'm not a movie star, and I don't want to become a movie star.
The thought of making a movie in which the monsters were the good guys was just financial suicide.
I can say pretty confidently that I am not the right guy to do a superhero movie, just because I was not a comic book kid. I don't know that mythology, and I don't have it ingrained in me in the way that a lot of these other directors do.
I don't like sequels at all. If the movie's good the first time, why bother?
I knew 'Mars Needs Moms! ' would be a movie seconds after the title came to mind. Similarly, I also knew that my daughter would be calling me a dork as a default term of endearment eventually.
My obligation is to the movie audiences.
I did a movie called 'American Splendor', based on the comic book writer Harvey Pekar.