The blessing that this film business has given me is that when I walk into a school I automatically have everyone's attention. They want to hear what the guy from 'Con Air' and 'Desperado' has to say.
I loved photography and everybody said it was a crazy thing to do because in those days nobody made it into the film business. I mean, unless you were related to somebody there was no way in.
At that time, the people that were in the animated film business were mostly guys who were unsuccessful newspaper cartoonists. In other words, their ability to draw living things was practically nil.
The studios basically, besides developing some material, their strength is distribution. Distribution in any other business is a cost that you incur. You know, in a trucking business, you eat it. In a film business, distribution is a profit center.
Above all, film is a business... Independence is a really cool thing as you can be a bit more bold, and take a few more chances with what you do.
The minute you start the process of deciding to make a film and you're communicating that vision to anyone, you're in the process of selling. If you don't understand that, you're not in show business. You're just not.
I'm sure some people will say, 'Why do this?' And my response is, 'Why wouldn't you?' The film business in general is using a model that is outdated and, worse than that, inefficient.
The nature of motion capture is only going to work for certain films. It's not going to put any other type of movies out of business.
I had no intention of being a film producer, and I knew I wasn't passionate about engineering. I was always set on having my own business, controlling my own destiny.
I definitely feel sorry more people don't get to see my films. They aren't inaccessible, and if people got the chance to see them, I know they'd like them.
In a play, you only get one chance, and you have to get it perfect. In a film, you can change and fix it whatever way you want, so really, there's a pretty big difference.
Maybe there's a chance to get back to grown-up films. Anything that uses humor and dramatic values to deal with human emotions and gets down to what people are to people.
Ron Howard is as good a person as you could want to work with on film. He never lost his cool. He's the most easygoing, lovely man, but he's got this enormous intelligence and a wonderful humanity.
As an actor, you try and be cool, but one of the reasons you become an actor is because you're a film fan. And then you're like, 'Oh my God, Ridley Scott just spoke to me!'
And getting stunt coordinator Dan Bradley and everybody from the whole 'Bourne Supremacy' crew, I think was real cool for our film because we do a bunch of really big jumps in this movie.
Growing up in Hollywood meant there were a lot of film stars' kids at my school - but no conspicuous wealth. It wasn't cool to show off that you had money.
Films are really cool because, every couple months, or however many times you can get a job because there's a lot of luck involved in that, you're playing a different character.
Regardless of what kind of film, the number one rule of comedy is to never take yourself too seriously and then the next rule is you can't have any self-consciousness, otherwise it kills the laugh, and that will never change.
No, it's interesting to remake a film for the contemporary audience today. I think it's a good idea; it needs to respect the original idea. Don't just take the title and change everything else.
We're always trailing, as far as the amount of roles that are written for us and the films that are being made that have black characters in them. I don't know if that's going to change.
The place I feel most at home is when I have health insurance. I really don't care how I get it, whether it's on film, or television or waiting tables, you know?
