Cheyenne Autumn was received not too successfully. I still think it was a very good movie. It was kinda Ford's apology for the way he had treated Indians in his past pictures.
I could never be like Hitchcock and do only one kind of movie. Anything that's good is worthwhile.
When you lock a movie's release date and then move it two months, it's just not good. It's good for everything but the cast, crew, and people who are creatively trying to make a film.
You do small movies because the script is good and because you believe in the director. You don't care about the money. And when they disappear, it's a pity.
I have worked on very good movies that have been buried, and I've worked on some resounding mediocrities that have been paraded through the marketplace like they were masterpieces.
I don't want to say, 'I want to be in Hollywood,' like so many actors do, but I know that Hollywood is still making good movies, and I'd like to be part of that someday.
I have a saying: 'I'm good for three things: making fried bologna sandwiches, making money and picking out good movies.'
Somebody once said, you have to wait 20 years before you can tell if a movie's any good or not so that's probably true.
Making movies, you're like an independent contractor - you come in, you have a specific job, and a lot of what you do is completely manipulated, which is good and bad.
Hollywood movies are run on fear and they don't want to make bold choices. They, generally, speaking want to keep things status quo. That's not really interesting for me.
My first fear was about the devil, when I was around fire, something I saw in a movie. I think it's about pain, in whichever form it comes.
I grew up with Forrest J. Ackerman's 'Famous Monsters of Filmland' along with a plethora of movie tomes and wanted to write about film with a sense of personality, passion, and humor.
What is a movie star? It is an illusion. It was everything I ever wanted to be, but it became a kind of shell, non? It was what made me famous and got me women. But it wasn't real.
I meet people who are in movies, and the stuff that they write is terrible, but nobody tells them that because they're famous. So I worry that my stuff might be like that, too.
We not only romanticize the future; we have also made it into a growth industry, a parlor game and a disaster movie all at the same time.
I've been watching Michael J. Fox since I was a toddler, basically. I watched all the 'Back to the Future' movies! I've been a fan my whole life.
It's funny shooting movies because you get to see clubs during daylight hours, which no one should ever see - it's not pretty; there's a reason the lighting is dim in there.
Movies either work or they don't work and they're either funny or they're not and we work very hard. To achieve that kind of work is really kind of delicate stitching.
When I was a kid, there was no distinction between a movie about old people or young people. It was either funny or not. It was either entertaining or not. It was either exciting or not. It was either thrilling or not.
I had seen movies before that that had made me laugh, but I had never seen anything even remotely close to as funny as Richard Pryor was, just standing there talking.
It's funny that people think because you don't have a movie or record out, you disappear into a frozen chamber someplace. They think you're dead when you're not in the public eye.
