My first in, my first break, was I met a director and got to talking with her, and she happened to be casting this movie that she had written. That was ten years ago. That got me to Hollywood. I got paid $700 bucks.
My very first role was the character of Barbara Winslow in the movie 'Marmaduke.' Up until that point, I had only done commercials. I had never done a guest star role or a series, and yet they cast me!
First and foremost, you have to make the movie for yourself. And that's not to say, to hell with everyone else, but what else have you got to go on but your own taste and judgment?
When the movie comes out, what anybody thinks of it doesn't really matter to me. I don't go to the wrap party. I don't go to the premiere.
When you watch the first 'American Pie' movie, you're like... 'I know that jock who's kind of sweet and has a girlfriend, and I know that weird off-beat kid.'
I think for us - the Weinstein name, the Miramax name - they've both become synonymous with brands. We have a real winning formula when it comes to championing a different kind of movie, and I think the audience trusts us.
I won't do this movie because I don't believe the love story," she told Selznick. "The heroine is an intellectual woman, and an intellectual woman simply can't fall in love so deeply.
One of my favorite authors, Garbrielle Zevin, she did a book called 'Elsewhere,' that is one of my favorites, and I think they're making that into a movie too. I really want to be in that one just because the story is so beautiful.
If we just made one movie, 'The Hobbit,' the fact is that all the fans, the eight-, nine- and 10-year-old boys, they would watch it 1,000 times. Now, they've got three films they can watch 1,000 times.
I wrote 'All is Lost' while editing 'Margin Call'. I did that long before I knew if I was ever going to get to make another movie.
The original Spencer Tracy version of 'The Old Man and the Sea' was always terribly flawed because of the over-reliance on voice over, but it's still a beautiful movie.
It was a terrible blow that was dealt when I was fired from 'Saturday Night Live', but I have to say that a few doors opened right away. Movie roles started to roll in, and pretty soon, I was over it.
Usually, I don't want to sit down and listen to the director gas on about his movie. I just can't actually imagine myself sitting down and having that much to say.
When you're reading a book, you're always looking for the natural place to stop. With a movie, you can't really have that sense of it coming momentarily to a halt; there's pressure to keep the momentum up.
'Slumdog' was my first movie, and I had never been to India before - I was just a teenager in the U.K. with my headphones and my Nike shoes. What did I know about growing up in a slum?
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.'
