In our day we went from - we went into saloons. We couldn't cross over like you can today, get a television series and all of a sudden you're a major movie star, you know.
People will turn their noses up at a sequel or that type of thing, but Pixar really works hard - if they're making a sequel - to make a sequel an original movie, to make it an original story.
I want to get back to my fighting weight of 98 pounds. I have the exact measurements of that guy from the movie, Powder. Right now, I am the reigning West Coast Powder.
When you do a play, or even a movie, you have weeks to finesse your character. You really understand why they do what they do. In TV, you get new material weekly about your character.
After I script the movie, I have to storyboard it out, I have to budget it, and I have to understand if I can afford all those visual effects or not.
Essentially, we wanted to be in one of Azazel's films, so the notion was we'd simply write an Azazel Jacobs movie ourselves, and then give it to him and be like, 'Right, here's you next film, now direct us. Go.'
A voice expressing emotion in a musical way moves on. It's like the finale of the movie 2001: A Space Odyssey (1968) - the world turns in on itself, as a universe unto itself, in the shape of one human being.
So, it didn't do well. But now when I talk to kids who are first seeing it, they're surprised to hear the movie failed at the box office. Sometimes that's what happens.
You know, OJ was a really nice guy, and he knew his lines. He was nice to everybody on the set. He got to be a better actor, I thought, with every movie.
I don't ever want to be doing the same sort of thing, I never want to be typecast, because I have way too much to give to be sort of, to always be the hot chick in the movie.
It is very difficult for any couple who are married if both people are ambitious. I don't know if it's just too hard to be married to a woman that wants to be a movie star.
Doing everything with one arm, being well-known, and having a book and a movie, it's fairly abnormal. As far as just not having to worry about past experiences, I've healed very well.
In Modernism, reality used to validate media. In Postmodernism, the media validate reality. If you don't believe this, just think how many times you've described some real event as being 'just like a movie.'
If I'm in the bookstore, and I see a 700-page novel, my first thought is, 'Ooh, how could you cut this down to size and make a movie out of it?'
Playing Etta James in the movie 'Cadillac Records' really changed me. It was a darker character, and I realized that if anything is too comfortable, I want to run from it. It's no fun being safe.
I'm thinking, this is Robert Redford. You know, he's won an Academy Award, he's talking to me about directing a movie he's in. So you just think that it's Hollywood stuff or whatever.
I have no sense of what War is like; It may be like disaster Hollywood movies. But i wish india and Pakistan fight a War and devour all ; instead of decapitating one-by-one
I learn more from the audience than I can from anybody else. Not from what they write on the scorecards, but how they respond to the movie while they're watching it - where they laugh and where they react.
Like Godfather, you look at a movie like that, or something that James Gray has directed, a film with minimal or pin lighting as opposed to everything being lit bright and flat, where everything is evident.
You can always tell in a movie when they are setting you up for something. If someone leaves an important object on the table and walks away, the camera will have some way of indicating that to you.
It's always weird when you see a movie, and there's no reason for someone to, like, jump on stage and be a singer, and then they just do that... But if it came organically, I would grab that mike and jump on stage for sure.
