All the director wants is their idea of the movie to be believed in.
I always loved doing a movie with Daldry. That's always a huge factor for me.
If you find yourself in a movie that you have questions about, it's not a compromise to your integrity.
I used to think as I looked out on the Hollywood night, 'There must be thousands of girls sitting alone like me dreaming of being a movie star.' But I'm not going to worry about them. I'm dreaming the hardest.
I've had kids come to me and say, 'Oh, I loved your movie when I was a kid, and I became a marine biologist.' It's crazy.
If you look at 'Gnomeo & Juliet,' the movie's message essentially says it doesn't matter if you're a 'red' or a 'blue': at the end of the day, parents should love their children and want what's best for them.
I didn't know how to write a novel, so I sort of let it happen in waves. The only way I could write it was to think like scenes in a movie.
In 'The Next Three Days,' even though it was a prison breakout movie, I was asking myself, 'What would I do? How far would I go for the woman I loved? How far would I go, and what would I do when the person then told me that they were guilty? Could I still believe in them?' So it was very personal.
I have gone to many theaters where it is so unpleasant with the commercials before the movie, the volume, and the disrespect of the filmgoers. So I understand people not wanting to go to the theater.
I don't want to just sell out shows to young girls who like my movie franchise. I want to sell tickets because people respect me.
Hollywood producers aren't going to say, 'Get me that swearing, grey-haired, headless chicken. We need him for our new 'High School Musical' movie!'
When you have three days to work on a scene, you can give all that love to the movie.
I would never do 'Stardust Memories' because I don't particularly like that kind of movie - that would be why I wouldn't do that.
I really want a movie made on Sachin Tendulkar's life. That is something I'm looking forward to. There will be so much emotion to that movie.
What counts in Hollywood is box office. It doesn't really matter what people think of you as an actor because, as long as you have been in a movie that has made money, you will always get another job.
I will watch a movie that is quote unquote dark and not get the qualification of what is dark and what is not.
The novel 'World War Z' is told from the perspectives of so many people - speaking to the narrator - that there's no way a movie could capture all of them. Still, the idea of turning a zombie pandemic into a war story is fascinating and could have translated easily to film.
I've actually always wanted to be able to read people's minds. My sister did a movie with super-powers and that's the one I would have wanted, so I really lucked out. The negative is that people are really cruel in their own minds, but you can weed out the bad people from the good people, and then just hang out with the good people.
Gavin Lambert was the first person in the movie business my wife and I met when we moved to Los Angeles in 1964.
When I was seven or eight, I was bought a fantastic book called 'The Movie Treasury of Horror Movies' by Alan G. Frank; it became my bible. It's packed full of the most amazing photos and is still fantastic to look at.
If you're asked something on a movie set and you say 'I don't know,' you lose confidence in every department. What you need to say is 'I'll have that for you in five minutes.'
When I was young and it was someone's birthday, I didn't have the money to buy nice presents so I would take my mom's camera and make a movie parody for whoever's birthday it was. When I'd show it them, they'd die laughing. That reaction was a high for me, and I loved that feeling.
There's a movie called 'Elizabeth: The Golden Age,' where I'm playing the King of Spain. It's a small role, but it's really, really interesting, the way I constructed it.
I figured that, if you do a vampire movie in Hollywood, you've made it.
I'm at the point now where I know I'm doing something right when a movie gets mixed reviews, because then I'm not in the box. I don't want to make it too easy for people and I don't want to make it too easy for myself. I want to try something unusual.
'Harold and Maude' was a seminal movie for me because it's not only a beautiful love story, but it's also about the moment when misfits find each other.
You want to enjoy making a movie - it's a wonderful, collaborative thing.
I am recognized a lot for 'Clueless,' but I am recognized a great deal for 'The Princess Bride.' I don't know... maybe everybody who has seen that movie just goes out on the street.
I know now that I want to do more voice-over projects. They really have the ability to transport you into the world of whatever movie it is you are working on.
I've never seen a good tennis movie. They all were terrible.
A departure from the movie with Michael J. Fox, 'Teen Wolf' tells the story of how a group of angsty teens deal with werewolves, their supernatural kin and the world of trouble that comes with it, all while trying to still live their lives.
I believe in research. Each movie at Pixar involves research with college professors or taking trips to learn as much as we can about a particular subject matter.
At Pixar, we do a million versions of the movie, and every one of them goes through their awkward teenage phase where it's terrible and doesn't make sense, and we just keep working on it.
On a smash TV series, you make much more money than you ever can in a movie. Do you know how much more Bill Cosby will make than Spielberg? The money for successful television is unbelievable.
An established property can be a blessing and a challenge. On one hand you have all those fans of the original that you can pick up with and continue on with but then you have a lot of people out there who haven't seen the first and might feel like this isn't a movie for them because of that.
I really want to do a sci-fi movie.
