I get mad when people call me an action movie star. Indiana Jones is an adventure film, a comic book, a fantasy.
Working on a film, the setup for an action sequence takes a long time, and we need to shoot the scene many times to get different angles.
Characters I've played, they used to impact my paintings, like 80 percent of the time, and especially when I was doing an action film.
It's an entire industry focusing on young male viewers that want action and violence. They sell us something that isn't valid. They're selling films like a product.
I hope to do big action movies and strong dramas, and to produce films. I also want to get kids more involved in what's going on in the world and to be politically active.
I have been a big fan of the 'Fast and the Furious' franchise. The films are fast-paced, fun and keep the audience involved. There is a great mix of humor and action, something I really appreciate.
Over the years, I have realized that there's more to a film's fate than just good acting and a solid script. It needs to be marketed well. It's the package that sells - the songs, action, actors, etc.
I'm going to make a film where not one word is really important. I'm going to make it all action.
For me, some of the happiest moments on a live-action film are the awkward moments. One actor says something to another actor. They didn't expect that performance from that actor; that affects their return performance.
I can't impress people with the pedigree of obscure French filmmakers that got me into film. It was Robert Zemeckis and Steven Spielberg. I really thought I wanted to make dumb action movies.
I only make storyboards for action scenes. Once you make a storyboard, you don't film; it can be a stiff move.
We were using a hand-held camera to film the scene when Morse collapses. The camera wouldn't start. Three times they said action and it still wouldn't work. To this day, they still don't know what was wrong.
Most theater methodology is predicated on the idea of repeated actions. That's what you work toward. Having the actor repeat the same moment eight times a week. In a film, it's getting that one moment right.
My teacher, Ben Johnston, was convinced that our tuning is responsible for much of our cultural psychology, the fact that we are so geared toward progress and action and violence and so little attuned to introspection, contentment, and acquiescence. ...
Action films can be like watching paint dry. You can just die in the trailer waiting for them to set up a shot, then you go out for a few minutes or an hour of endurance testing.
Whether that's an action film or a comedy or a drama or anything in between, I'm willing to prove that I can play with the big boys.
By showing hunger, deprivation, starvation and brutality, as well as endurance and nobility, documentaries inform, prod our memories, even stir us to action. Such films do battle for our very soul.
I'm used to adapting my novels for feature film - it can be challenging to cut and compress three or four hundred pages into two hours of dramatic action.
As far as action is concerned, our films have been coming up with some great sequences. In fact, I think Hollywood is copying Bollywood by getting their heroes to bash up 15 guys at a time.
I'm a tomboy at the end of the day, so anything that causes me to have to run around, fight people, roll in the dirt, hop a fence - I'm all for it. So I really would love to do an action film.
The adrenaline feeling of jumping out of cliffs and bikes and all of that is very specific to the film. In 'Pac Rim' I'm not doing that so much. There isn't that touch stonework for me in it, but there is a lot of action.
