Being sensitive to the problem of women is just another symptom of the quality of movies: I don't think you can do anything that's very sensitive. Everything's sort of broad strokes and big gestures - adventure things that boys, guys want to see.
The nature of the movies is different than it was five years ago, and they're all driven by the possibilities of CGI, which means you can make anything happen on screen that you can possibly desire.
It's always uncomfortable for me when I take off my shirt. No one else is taking their shift off. Why is everyone else in these movies bundled up in layers of clothing and I'm taking my clothes off all the time?
I've had lots of parts in movies that I've never seen. I mean no disrespect to them. It was really fun to go act, but I'm not calling my friends and saying, 'I couldn't be more proud of this picture. You should go see it.'
I really want to meet and work with JJ Abrams. Everyone talks about what a nice director he is, and he has kids and stuff, so he sounds really awesome, not to mention he makes awesome movies.
I hate stories in which a person has an occupation and you never see him working at it, like all those marvelous Cary Grant movies where he's a surgeon, and you never see him in the operating room.
I did direct two short movies. I learned many things, and one of the things I learned was that I am not a director. It has to be visceral, and it's not for me. I feel much more comfortable acting.
I'm certainly curious about people. As a kid, I moved around a lot. I was raised in a lot of different places, and thanks to working in the movies, I've gotten to keep traveling. I've always been interested in other cultures and languages.
Looking at acting, in the movies or the theater, and the way I like to look at it, it's just an extension of childhood play... Kids play and imagine in a very intense fashion and they don't need any director telling them, 'You really have to believe ...
My favorite English teacher in high school showed me 'Brazil' when I was 15, and it blew my mind. It's one of those movies that's revealed itself in different ways as I've gone back to it over the years.
I'm quite comfortable looking at myself in movies, probably because I've been doing it for so long, since I was a kid. So I sort of watched myself grow up and go through adolescence, like, basically on camera.
Tom: It's these cards and the movies and the pop songs, they're to blame for all lies and the heartache, everything.
Tony Mendez: I need you to help me make a fake movie. John Chambers: [smiling] You came to the right place.
Dr. Redfield: Just think of your mind as a movie, you can pause, rewind or slow down any details you want.
[Recurring line in all three movies] Biff Tannen: Hey, McFly. I thought I told you never to come in here.
I got a role in this movie called Freeway playing this really angry, aggressive, violent young woman who believed wholeheartedly in the truth. I had such satisfaction afterward, and I thought, That's what I want to do.
The idea of it becomes a little freaky if you're dealing with someone who has trouble differentiating between fantasy and reality, but that's a concern no matter what kind of movie you're dealing with.
I did my first movie, 'The Mambo Kings,' in America without speaking the language. I learned the lines phonetically. I had an interpreter actually just to understand directions from my director.
The story is also about the battle between Arthur and the Saxons. The Saxons were destroying everything they came across and Arthur was left when Rome was falling because this movie takes place in 400 A.D.
I'm not the type of person who goes through all this effort for a movie, and then doesn't care if anybody sees it. I want them to see it, and I want them to see it on the big screen.
It wasn't until the movie came out that it all changed for us. Some people say it was the start of Ten Years After, but in another way, it was the beginning of the end.
