To become a big movie star like Joan Crawford, you need to wear blinders and pay single-minded attention to your career. Nobody paid attention to me, including me.
If I want to write a movie, I'll write a screenplay, but if I have an idea for a book, it's something that I think can only be done novelistically.
@BretEastonEllis 31 Mar After watching the delirious Room 237 I realized that the worst thing happening to movies was the empowerment of the viewer via technology.
When I'm working on a movie, I'm in my trailer playing guitar. And then on the road, I read scripts and think of... it just keeps both fires burning. I kind of need both.
When you first think of making a monster movie you have to realize that a lot of people may be down on you because there is a big prejudice against such films.
I'm a character actor, so I don't take the hit if the movie's bad, the lead does. So, I don't want to be the lead. He takes the hit, I don't.
If the movie had ended in Hollywood fashion, the Copenhagen climate conference in 2009 would have marked the culmination of the global fight to slow a changing climate.
Do I have a small movie in me? Yeah, probably, when I'm 60. But I'm not Hal Ashby, I'm not Roman Polanski. I'm true to myself. Whether you like it or not.
I think when I'm drawing, I'm seeing what's happening on the page almost as if it were unfolding like a movie in my head.
When you start to become a movie star it's easy to believe that you are Superman. That can fool you. That's why I prefer not to pay much attention to fame.
I'm totally open to it being a movie or a television series or whatever, but truthfully, if no one wants to do it right, I'm also happy for 'Ex Machina' to only ever exist as a comic book.
The designs were based on quite a lot of research of what a movie musical is, filtered through the eyes of today. If we'd gone strictly with the '20s, the movement would have been impaired.
A definite highlight was doing 'The Brothers McMullen.' Shooting that movie was such a joy - and then we wound up winning the Sundance Film Festival. That big-break moment is visceral. It happens once in a decade, maybe once in a lifetime.
A lot of producers now are people who stay in their office and never go to the set. I don't know how you can be the advocate of the movie if you're not there in it every day.
Watching a movie from beginning to end is like reading, because even though what you see are images, they are telling you a story.
My inners are not organs. They're actually mechanics, so I have a hole in my back, wind me up like the movie 'Hugo,' and then just say, 'Act,' you know?
When I want to support a film starring actors I like, I purchase several tickets at the box office - even if I can't stay for the movie.
You would think that with ten super-famous people in one movie, it's gonna be ten times more popular or viewed, but on some level, they can cancel each other out.
I go to conventions and universities and talk to young filmmakers and everybody's making a zombie movie! It's because it's easy to get the neighbors to come out, put some ketchup on them.
When I got out of college, I booked a movie called 'Go for It!' with Lionsgate, came out here, and I've been acting ever since - or trying, constantly trying.
On a live-action movie, things happen that are unexpected. In animation, you have to fabricate the feeling. That takes a tremendous amount of nuance until the film becomes sentient and gives back.
