I think you have to learn for yourself how to write. I'm slightly mystified by creative writing courses - God love them - because I can't understand how you can explain a process that I find so baffling.
When you get to the point where you're established enough that people link you with something, especially being an action hero babe, it's awesome. Because then you can fight the battles and have the crossbows and wrestle with swords and ride the horses because you're already believable; people see you in that genre.
Coming down under a parachute is quite different as well. You hit the ground pretty hard, but all the systems work very well to keep it from hurting, so it doesn't even hurt when you hit. It was a great experience to be able to do both.
What bothers me about the whole trust-fund thing is that it sort of presumes that everything is handed to you. And if there is one thing about my family that I do identify with, it is that everyone is extremely hardworking.
Confidence, knowing for certain that the person making the call has your safety foremost in their mind. And knowing that the job you are about to take on is the right thing to do, that it makes sense.
When you're an actor or any kind of artist, you use your life as something to draw from in every experience.
But once we got them on its feet then they run themselves, unless there's corrections you have to make.
With a genre like film noir, everyone has these assumptions and expectations. And once all of those things are in place, that's when you can really start to twist it about and mess around with it.
Florence is charming, cozy, beautiful, inspiring - it has so many great places to go to and so many unique things to see that you won't find anywhere else!
In life, you can blame a lot of people and you can wallow in self-pity, or you can pick yourself up and say, 'Listen, I have to be responsible for myself.'
I cannot permit you to disrupt the Paramount schedule.
You know what else I've learnt? That it's all right not to ride the crest of the wave. Every time a wave comes along I retreat, and I haven't come to any harm yet.
To be a director, you have to think you're the best. Ever since I went to film school, I imagined that you have to think deep down that you want to be Martin Scorsese or you want to be P.T. Anderson. Like, am I as good as those guys? Absolutely not. I feel like I keep learning, and I feel like I keep getting better.
At the end of the day, they're happy if you do the obvious songs towards the end of the set and you've got to try and make yourself happy by doing certain songs at the front end of the set.
Arithmetic is where the answer is right and everything is nice and you can look out of the window and see the blue sky - or the answer is wrong and you have to start over and try again and see how it comes out this time.
Scenes change all the time. Scenes will change while you're shooting them, and you just have to roll with it 'cause that's what makes it funny. It's not being stuck in your character and how you're gonna do something, but to react to other people and to really have a real-life conversation.
I don't want to see that two-tier Senegal, that two-tier Africa, when you have those at the top and those at the bottom, people who are hungry, people who do not have enough to eat.
You know who helped me a lot? Jane Fonda. She said, Look at how many times I've been up and I've been down. So don't worry about anything.
If you make a film about a pig farmer in Wales and you are a huge hit as the pig farmer's wife, the next thing is you'll be asked to do a film about a sheep farmer in Scotland.
A man will renounce any pleasures you like but he will not give up his suffering.
With this CD technology, you can just remix a record right there on the spot.
As I've always said, preproduction is so important. When you cast the actors, you've done much of the work. Now, you may need to guide them a little, take it up or down, have them go faster or slower, but the casting process is crucial.
If you are not willing to risk the unusual, you will have to settle for the ordinary.
It's tricky: with comedy in any movie, you're hungry for an audience to embrace a movie and be a part of an experience that's comedic; it's the easier way to go in some ways.
Christopher Nolan's 'Batman Begins' set the bar very high for the superhero movie, as it showed that you could get a great cast for these movies and take a real filmmaker's perspective.
You can't all of a sudden go to sleep one night and wake up Martha Stewart. It's bit by bit by bit.
Face reality as it is, not as it was or as you wish it to be.
You look at John Travolta in 'Pulp Fiction', you look at Donnie Wahlberg in 'The Sixth Sense.' People have liens against them in crazy ways and the audience is always forgiving - if you prove it.
Summer movies are spectacles; that's what you pay 10 dollars to see. You want to get teased by effects sometimes. I think that will never stop.
Robert Kirkman can't bear it when I wear flip-flops. He takes pictures of my flip-flops and keeps sending them to me, like, 'What are you doing? Rick Grimes is not a flip-flop kind of guy.'
Always build. If you start at fever pitch, there's nowhere to go.
Beginnings and endings are not interesting; audiences want the high point, which means you've got to get to it and get to it now - get the gun out fast, the clothes off quick.
When you're in the minority, it doesn't matter what you're agenda is, you're not going to have the degree of freedom that you have as a member of the majority.
That's something I go through every day - you know - Am I good enough to act?
You don't have to show people how successful you are.
The reason people like to watch ball games is because they don't really know exactly what's going to happen from moment to moment. That's why you watch the entire thing.
