I was at the end of the studio system so when I walked into movies, I had a magnificent suite in which I had a living room and a kitchen and a complete makeup room. I had everything just for me. With the independents, you're kind of roughing it, lite...
After I was fired from Disney, I did some of the worst movies ever made and I got professionally involved with a manager who said it didn't matter what you did as long as you kept working. I wound up completely broke.
I write plays and movies, I live and work at the borderline between word and image just as any cartoonist or illustrator does. I'm not a pure writer. I use words as the score for kinetic imagistic representations.
For most artists, you take what you have and who you are, and then you expand on it to make it more entertaining. Everyone knows actors aren't the same people that they play in movies, but people somehow expect musicians to be a certain way all the t...
I think with the success of, like, every summer there has been a couple R-rated comedies that have done so well; I think it is so nice to see that people are turning out to see these movies, and it doesn't seem to be as big a stigma with the studios ...
I watch movies and sports. I can count on the fingers of my hand the number of times I have watched an hour show. I never watch a half-hour show, and I never watch myself.
Prostitute #1: I saw a police station in a movie. It was cleaner. Prostitute #2: I once saw a dirtier one. Prostitute #3: And I, a more cheerful one.
Lester Siegel: [Tony finds the "Argo" screenplay] It's a turnaround. It's dog shit. Tony Mendez: It's a space movie in the Middle East. Does it matter?
Lash Canino: What's the matter? Haven't you ever seen a gun before? What do you want me to do, count three like they do in the movies?
I often compare putting a hotel together to old-time movie production. You come up with a story line, you hire the writer, the director, the stars, the set designer.
I didn't picture myself as a movie actress. I began to think about it around college. I remember thinking, 'Well somebody has to be in them,' so maybe I could do that eventually. It's all been a surprise.
For myself, I would rather take less roles and be working on films that I'm passionate about, that are going to challenge me and that I'm going to be growing from. I don't ever want to take a movie just for the sake of working.
When you make a movie, you know you're making a long-form thing, so the visuals are different than for a video where it has to be more obvious or in your face, I think, a little bit.
Anything that's memorable about a movie is often what a test audience will object to because they're being asked to be experts. They just compare the film they finished watching to all of the other films that they've seen.
I'm not a very efficient filmmaker. There's a lot of guys, filmmakers like the Coen Brothers who shoot a whole movie and maybe don't use 12 setups. I'm in awe of people like that; I'm just not that guy.
We meet before the movie and she gives you charts with sounds on them and makes a tape of examples. While they are setting up the scene, I go with her to the trailer and we go through the scene and correct the speech.
It's a hard line to walk, man. Cause you know you want to make this movie, you want to make it dark and real, you want to show all this stuff but unfortunately you can't always do that.
Unless you're trying to make a movie on the sly, there's no way to get around this. If you want to use public spaces, film on the streets, have the cooperation of the police, you have to have a permit.
There's only one movie in my career I've had regrets with cutting it shorter, and I think some scenes maybe I shouldn't have cut.
There's a level of sophistication of filmmaking that's mind-boggling. Anything you need for your movie, there's an establishment that can make it happen really fast.
Many times when you make a movie, it feels like your biggest mistake. But even if a film isn't a hit, you shouldn't view it as a mistake.
