I recently saw the movie about Ray Charles, and there's a scene where he falls down and the mother doesn't help him. She says, I don't want anyone to treat you like a cripple. I've fallen down before, and Molly will say, get up and just go.
I mean, the whole idea of movies was it was special to go to see - you went to a movie theater to see something that was magical and amazing, in a very special location.
Usually the audience has no idea that the censored version of whatever movie they're watching isn't the original.
The story is also about the battle between Arthur and the Saxons. The Saxons were destroying everything they came across and Arthur was left when Rome was falling because this movie takes place in 400 A.D.
There's some kind of actors that can radically change who they are from movie to movie. I've never really been that kind of actor. I enjoy changing the worlds that I'm in.
One of the tricky things about sort of larger, comic-book action movies is that the scale is so big that they have to save the world at the end of every movie, and so at the end of each of the films, either Chicago or New York end up getting obliterated.
I found it to be more challenging to be in a huge effects movie, because a lot of the things aren't there. You have to trust the director and react to nothing.
I think that sometimes when they see me in a movie they expect me to be something nasty. I mean, I play a lot of villains and you show up and they think maybe... That's why it's good to defy expectations sometimes.
People think if you're a movie star, you're the boss. But first of all, I'm not a movie star, I'm in a very different place. I'm not looking to do what I want - I am looking for what we can find. It's a creative process.
In a way, all Scandinavian movies are descendants of the original Scandinavian Christian-metaphor movie, Danish director Carl Dreyer's 1928 'The Passion of Joan of Arc,' one of the seven or eight best films ever made and impossible to watch more than once.
I hope that they enjoy the movie. Don't be critical. Don't expect to get the same feelings you got when you watched the series when you were 10 years old. Let your kids see it and experience it on their own.
I haven't been to a movie since somebody gave me free tickets to Star Wars, which I went to.
I like travelling and if I have to come to Hollywood to make a movie I will, but otherwise I'd never move there. It's very much an industry town and that doesn't really interest me.
Every movie is unknown.
I want people to know that movie stars live a normal, middle-class life.
The production team's first meeting took place at my house. I had ideas and a color scheme in mind, how I wanted the movie to look, because that has to be a real collaboration.
My kids are not that interested in my movie career, by the way. My son, in particular, never talks about it. He just wants me as his dad.
Obviously, SNL has a lot of viewers, but the potential for a movie is through the roof.
You have to write a good score that you feel good about. At least, you're supposed to. But, if the director hates it, it ain't going to be in the movie!
Obviously, the cinematography of films is art, just as a still shot can be art. If I'm watching a Wes Anderson movie, the colour palettes alone, and the way they're painted, could be art. With music, you're a little bit limited, of course, because it's only audio.
I think Charlize Theron is just as good when she is looking really pretty in a movie as when she gains 10 pounds and puts on a nose. I applaud her - good for her that she doesn't care. But she's just as good, whether she's pretty or not.
So how critics will perceive your film or your work, or whether your movie is going to make $100 million at the box office, or whether you are going to be winning any awards - well, you have no control over that.
There is a director for a reason, because a director knows what's best for the movie. You just give your director as much as you can to work with, and hopefully, the decisions they make are going to be great.
I think, probably, the place that I feel I most belong is a movie set. It doesn't matter where it is in the world or who I'm making the movie with; that's the closest thing that I've got to a sense of placement. So I guess acting was a way of finding a home, if that makes sense.
I made two movies very young, and then I had trouble getting a movie made, and so - which was both, I think, a plus and a minus. It was a minus because it made me unhappy.
With a movie you're creating from the beginning this particular work, let's not call it work of art, because very few movies are works of art, let's just call them bits of popular culture, whatever they are, sometimes very rarely by accident a movie becomes a work of art.
The point is that life for me is not going to be the way it is for everyone else. I have a fog machine and movie lights in my bedroom.
What I learned from this movie, 40 Days and 40 Nights: Abstinence can be a very good thing. Especially from box offices where this film is playing.
I can't say that I am a DVD junkie. I see most films that I want to see in the theater, and so most of my DVD-watching is catching up with the occasional movies that I missed or revisiting a film that I really care about, in which case I really want the extra channels, because it's a movie that I already love, and I want to know more about it.
That's the only way I can control my movie. If you shoot everything, then everything is liable to end up in the movie. If you have a vision, you don't have to cover every scene.
And the VCR did the same thing: the movie industry thought nobody would ever watch movies any more.
I had a meeting with the producer of 'Five Easy Pieces,' which is my favorite movie. He introduced me to Francis, and I spent six months going to Napa and Buenos Aires, auditioning for Francis and doing these incredible improvisational games. It was a very bohemian audition process.
With both Caddyshack and Vacation, it's not like the subjects were serious enough that they engaged my interest for another round. I love the characters, and the actors were great, but I didn't see the need to make another Vacation movie.
When I was a kid, there was no distinction between a movie about old people or young people. It was either funny or not. It was either entertaining or not. It was either exciting or not. It was either thrilling or not.
I'm probably an actor that tends to, instead of putting things on, think about it more in terms of taking away what's not in the character, until I'm left with what is. If that makes sense. That's probably a particularly American way of working, but maybe not. The end of any movie is a readjustment.
It's so much easier to go to the Sony movie complex when you're disabled. You take a great elevator. You get your own little private viewing area. I love it.
