Actors, movie stars, rock stars, I can meet them with no worries - but with footballers I go weak at the knees. All of them.
'G.I. Joe' is a $200 million movie. The makeup trailer was as big as my house! It was a whole other different production. It blows me away. I'm just going, 'Wow, I'm in that.'
When my daughter asks, 'What do you do?', every movie I have a different answer. As she grows, she wants more explanations.
I never studied dance, but if you look at 'Wild At Heart,' my mother saw that movie and said, 'You are a dancer. Look at how you're moving: all that strange energy is like modern dance.'
Even my parents are so cute, and they deal with every movie of mine excellently. They check with me ever so casually by asking 'Now how much of nudity are we going to see in this one?'
I wanted to make these people real, not like they were in a painting. Like these are people who don't know they're in a period movie. Those concerns are incredibly immediate.
This is the part in the movie where that guy says, "Zombies? What zombies?" just before they eat his brains. I don't want to be that guy.
Truth is, we offered it to Tom Hanks, which pretty much every movie in America does, but Tom passed. Billy Bob said that Hanks recently called and said he's voting for all of us for Oscars, he loved the film.
When I was starting to get noticed as an actor in the 1970s for something other than the third cowboy on the right who ended up dying in every movie or episode, Burt Reynolds was the biggest star in the world.
We do like digital projection. We like shooting on film, finishing digitally, and projection digitally. That's what I like best. It's still a movie. It's not someone's camcorder and it got projected. That's mean, I know.
I don't want to leave New York and leave my family. I don't like the distance. I just did a movie in California and it's kind of excruciating to be away from them so I think there is that sense.
It has been my experience that work on the screen clarifies stage portrayals and vice versa. You learn to make your face express more in making movies, and in working for the theater you have a sense of greater freedom.
Sure, 'An Inconvenient Truth' was my first documentary. What a wonderful experience. I saw Al Gore doing his slideshow presentation, and had this nutty idea that we had to make a movie out of it.
I went to film school, so I certainly know how to make things quickly and cheaply. But at the same time, I have the experience of working with Steve Starkey for three years. I watched him produce some gigantic movies.
You ask any moviemaker what their favorite movie experience was, and they'll say it was one of the first ones, where everyone had to pitch in and do everything together, and you had to struggle.
When you go to the movies with your whole family, it's a different experience. For some reason, it's something that you're all doing together and you take away something special in that.
Rarely do I do film press because I'm so low on the food chain of the movie, and for me it's just this thing I did for four weeks before the next tour started.
With nine degrees of warming, computer models project that Australia will look like a disaster movie. Habitats for most vertebrates will vanish. Water supply to the Murray-Darling Basin will fall by half, severely curtailing food production.
I had a job at a movie theater for like a year and a half and then a job at a health food store for, like, two years. Those were the only two jobs I ever had.
I love dive bars, old movie theaters, live music and good food. The simplest things in life for me are the most important.
If I make a movie in English, the money will come from Europe, so that I can keep my independence and freedom. The way they produce in Hollywood doesn't fit me.
