I don't want to do an action movie, because I've acted in them, and they're so boring to do, because they're so technical. The headache of that is daunting. But, if it were an action movie with really interesting characters, how great would that be?
I'm very focused when I'm making a movie, but I'm also a fantastic multitasker.
That's the thing about making a movie: You never finish editing. They just take it away from you.
I am fully committed to Hannah Montana. It's what gave me this amazing opportunity to reach out to so many people. I'm really excited about our new season. We are making great new episodes that I can't wait for our fans to see and I'm looking forward to the 'Hannah Montana' movie that will be out in the spring.
I felt like I was betraying my family. But I knew that trying to explain my emotions in a movie like this was more important than leaving them unspoken.
I finished 'Ice Age: Continental Drift' in 2012, and I'm living in my agent's guest bedroom in Los Angeles because you don't make a ton of money writing an animated film. The movie makes a billion dollars, and you make 'twelve cents.'
People don't care about what someone says about you in a movie - or even what you say, right? They care about what you build. And if you can make something that makes people's life better, then that's something that's really good.
When I read the 'Country Strong' script, I thought, 'Can't they just hand-double it? Can't I just do the rest of the movie and not have to do the performing?' It took me six months to learn to sing and play guitar at the same time.
You just can't make any movie and it will be good now. This is a really a difficult time to be in films.
We aren't upset when Paramount makes a $200 million movie that flops, but if a charity experiments with a $5 million fundraising event that fails, we call in the attorneys. So charities are petrified of trying bold new revenue-generating endeavors and can't develop the powerful learning curves the for-profit sector can.
And I like the look on people's faces when I say I'm doing this movie called Pride and Prejudice and they kind of smile, and then I say I'm in a movie called Doom and they kind of do a double take and try and put the two things together. And they never quite manage to.
You can't please everyone... If you make a good movie, that's all that matters.
Usually, when I do a soundtrack, the music from the movie doesn't have anything to do with me personally. It's music to enhance to the film. My own stuff is more introspective and about what's on going in my head.
No matter how successful you get in Hollywood, you cannot rest. Your new movie doesn't open well; they're looking for the next person to replace you; it's always something. You never have true peace.
I had stories that needed more space than the hour and a half or two hours a movie gives you.
I think real life reflects your movies. In your life, you pick stuff that influences what movie roles you wanna pick. I think if you've got an interesting life, you wanna do interesting movies about interesting things.
More teenagers go to movies or rent a tape of a movie than sit down and watch sitcoms on television.
It was a lot of fun on the set. I had the most fun making that movie out of all of them. I'm sure if I sat and thought about it, but none that I could think of offhand.
Making a movie is a long, dull process. There's a lot of waiting around.
I was working at a restaurant, I booked the role in 'Twilight,' put in my two weeks' notice, got fitted, flew to Portland, filmed, and then it started getting hype. That helped me get my foot into certain doors before the movie even came out.
When we moved to L.A., I started going out for more commercials, and then one day they emailed me a movie script. The first thing I said was, 'No way. I love commercials.'
I saw 'Tintin' in Europe - it is 'Indiana Jones' on steroids. Unbelievable. What a fantastic movie. Steven Spielberg, you rock the house. And working with those young English guys like Edgar Wright, and also Peter Jackson; what a great combination.
I saw an Elvis Presley movie Jailhouse Rock, where he gets out of jail and makes his own records and takes them to the radio stations himself. And then, he puts records in the store. After seeing that, I made records an put them in stores.
When you're doing a big movie, you're gone for 10 months to a year.
As you know it is a comedy so everything is a little bit pushed. That's what's funny about this kind of movie is you can laugh about the absurdity, and the bad side of life.
As a filmmaker, I don't want to limit myself to one kind of movie. After 'Headhunters,' I went to Hollywood and read a lot of scripts: lots of action thrillers and heist movies, and superhero films.
The movie wasn't really derived from Dark Shadows - they developed a whole new script for that particular one.
Technically, my first paying job was I was an extra in my dad's movie 'Dan in Real Life.'
I've always wanted to appear in a 3-D Movie, that's always been a goal of mine. If you appear in a 3-D picture you are a shoo-in for an Oscar. There's no competition.
I'm interested in trying to explore what I think is the truth at a given time in my life, and part of the process of being honest is - in my mind - talking about the idea that you're watching a movie. You're sitting here watching a movie. And I like that. It appeals to me intellectually, and also in a way I can't even explain.
'Dawn of the Planet of the Apes,' while not nearly the masterpiece proclaimed by many critics, is certainly a fascinating cross-species: a big-budget summer action fantasy with a sylvan, indie-film vibe, and a war movie that dares ask its audience to root for the peacemakers.
A lot of weird things happen to me. People call out to me on the street and I figure I know them, and I walk over. And then they start to talk about a movie, and I get so embarrassed. Sometimes they think I'm Lorraine Bracco or Laura San Giacomo or Marisa Tomei. I'm sure it happens to them all the time, too.
There was a little movie I did called 'Women In Trouble' that a friend of mine made. That, to me, was a very satisfying project. It was shot so quickly during the writer's strike, and there was no money. It was a really fun project.
I can't tell you how many incredible directors I long to work with, but then I look at their IMDb page, and they haven't made a single movie about a woman.
I was watching TV one day, and there was this open casting call for extras, and my brother says, 'You wanna try out for this movie?' and I said, 'No, I'm okay.' And then he said, 'Do you wanna be on a DVD?' And I said, 'I wanna be on a DVD!,' so I tried out.
When you do a movie as opposed to a TV show, it's always tempting to think everything has to be big and exaggerated and spectacular. And in fact, a lot of the funniest comedy films have been very intimate.
