When I see a movie with someone it's kind of uncomfortable.
Rita Hayworth in Gilda... there's not a shot of her in that movie that isn't gorgeous.
Although the odds are you're not gonna get the acting job you go out for, it's easier to successfully audition than it is to sit down for a few months and write a movie that's going to actually sell.
I moved to New York to do theater, and I got cast in a play that was funny, and then I was the funny guy. I did a movie that was funny, and then I was the funny guy.
I feel like people want to be surprised when they get out of the movies. They want something thrown at them they didn't expect. They want stuff that reminds them of the feelings that you get when you're watching art house movies but with the fun of like a big summer movie. That's the goal, I guess.
I do my best not to have any expectations when I go into a movie because it's not fair.
The film I did with Bobby De Niro, 'The King of Comedy' - an awful lot came to me out of that movie because De Niro never allowed me any room to be crazy. If I had tried to play it the way I would normally play it and get hysterical, Bobby would punch me.
I am like the perfect horror movie viewer because I do not get scared very easily.
When I did that first movie, it was the introduction to all the set-up time and the waiting time that's endemic in motion pictures, and the repetition.
Life is much more available in New York - there are a dozen movie theaters within walking distance. Living in California is easier, but you get sedentary.
If I had the opportunity to buy the latest movie that's out that month and watch it on the comfort of my big screen TV, I would pay for that.
Hopefully this movie will help people understand that if a child is never given the tools to know how to love others and love and respect themselves, this is what happens.
I have a very high tolerance for gore and blood. I am, like, the perfect horror movie viewer because I do not get scared very easily. I can really stomach anything so, as a result, I have watched a lot of really disgusting stuff that I should probably never have seen.
In Evita I wasn't really hugely involved with it. I gave a little bit of help but they needed a bit of technical help on the movie and so some of my music people went in at the end of the movie and helped out with it.
I love Elmore Leonard. To me, True Romance is basically like an Elmore Leonard movie.
There's a moment of recognition. It's that white-light kind of stuff that just 'works.' I love that. And you know it when it happens, whether it's a movie, music, a building, a book.
It's about the characters, it's about the film, it's about the process of making stunning visuals and a huge, epic movie. It doesn't matter if my head was covered in a black plastic bag and I was bouncing around in a space hopper: That's the villain of Chris Nolan's 'Batman!'
I lose tons of stuff on the cutting room floor. For Scary Movie 3, for example, we had a lot of Matrix spoofs, a Hulk scene, and some of that stuff just doesn't hold up - it's too much plot, audiences just didn't want to hear about it.
The movie adaptations of stage musicals that I've seen, without exception, in my opinion don't work. A lot of people would disagree with me.
I suppose they call me a woman's director because there were all these movie queens in the old days, and I directed most of them. But I also directed Jack Barrymore and Ronald Colman and James Stewart, to name a few.
I ain't no movie star, man. I'm a booty star.
I was one of those kids who had never seen an indie film before I got to college. If it wasn't a big, huge tentpole movie, or if it wasn't on the radio, I hadn't experienced it.
A movie like 'Edge of Tomorrow' is so huge and complex - the spectacle and action is all-consuming - and that on its own is enough of a reason for a lot of people to see it.
You make the movie through the cinematography - it sounds quite a simple idea, but it was like a huge revelation to me.
'Callister' is feature-length, and it's one of the coolest things I've ever been asked to be a part of. It's poignant and moving and thrilling. If this was one movie, it would be an accomplishment, and they make six of them.
There's nothing worse than finishing your last take on a movie and thinking, 'God! I finally nailed who this guy was!'
I'm looking for the perfect paintball movie.
The part of Mike Wallace drew me to the movie because I thought, what an outrageous part to play.
My first review for the TV movie The Bionic Showdown said I was as interesting as a bus ride.
I was a huge movie watcher, but I really loved 'Kenan & Kel,' 'Rugrats,' 'Doug,' & 'Catdog.' I was also into drama films, though, and I really loved 'Poetic Justice' and 'Set it Off.'
Like I said about Freaked, people tend to find these films, and I think that in the end the cool thing about a movie is that it can be sort of burnt temporarily, but then it's burnt into the fabric of your culture.
You could get in rehearsals, pre-production, anything that would actually contribute to the understanding of how a film gets made. I actually find those things increase people's interest in a movie and like that better than worrying about showing the tricks behind the curtain.
I can't ask for every movie I make to be great and brilliant. I can only try.
In a normal movie, you'd never see one guy talk for an entire page, whether good or bad.
It's a difficult undertaking. I've been married for four years and I see this movie as a cautionary tale about people who've gone deeply out of communication.
If I was producing something, it wouldn't make sense to me to cast somebody because of who their father is because that doesn't put anyone in the seats in the theatre. I wouldn't go to a movie because that person's father is so and so.
