Quotes of All Topics . Occasions . Authors
I always panic on the first day of work. You can do all the Stanislavsky-backstory homework, but when that moment arrives and you are in the clothes, hair, and makeup of somebody else, and you're saying the words created by somebody else - I never know how to do it. It's a complete mystery to me.
I think my family's watched me over the years in my career, in my pursuit of my career, and they've seen the challenges and the struggles that come with being an actor, with being a writer and a director, and the challenges of morphing my career in from just being an actor into a writer/director.
I actually spoke to one of the heads of a studio, and he said I confuse middle America. Basically, when they see a black person, they see athlete, they see rapper, or they see criminal or something like that. And then when they hear a British accent, they hear posh, so they hear lawyer or doctor.
When I was a boy, I read a terrible article in a big weekly American magazine called the 'Saturday Evening Post.' In the middle of this family magazine on my parent's coffee table was an article about this family that was camping, and they were all mauled by a grizzly bear in their sleeping bags.
'The Wizard of Oz' is my favourite. It explains what life on this planet is about. Although Dorothy reaches Oz, she finds she had what she needed to go back to Kansas all along, but the Good Witch tells her that she had to learn it for herself. All of the answers to the meaning of life are there.
Whatever I was able to do with those experiences certainly contribute to whatever I'm able to do as a director. The corruption in that is that most of what I acted in the last 10 years was to steal film school time from these guys. Those were the people I thought I could learn from as a director.
There's no room for being a visionary in the studio system. It literally cannot exist. You give Terrence Malick a movie like Transformers, and he's f***ed. There's no way for him to exist in that world... Lars Von Trier's dangerous. He scares me. And I'm only going to work now when I'm terrified.
Talent is to actors what luck is to card players. It's not really anything; it's just a fictitious word that people have created and labeled things. Talent is like, you know, I never really believed in talent, I believed in drive and determination and preparation, but talent is sort of like luck.
I never say "nagging". I think that "nagging" is a term that men created to get women to pipe down some. But it's a trap that we've created. We created several terms for women to back you down. Nagging means to stop asking me questions, then we get away with more. I think it's a term men created.
When I wrote 'East,' I wanted a completely earthy, very sexy, very violent play, so I wrote in verse. I found it not only satisfying but releasing. It gave me an opportunity to play with language. We never played the characters like the yobs that they are, but rather in a slightly heightened way.
When I'm in a movie, what I always do, instead of sitting in a trailer or watching a DVD, is I go on the set and watch the director work and the actors work, and sometimes I'll hang out with B camera and watch what they're up to and ask questions because there's so much to learn about the medium.
I heard about the project over a year before we began. My American agent said, 'Oh, you might want to read 'In Cold Blood' because they're talking about you for Capote, but the script's with Johnny Depp and Sean Penn at the moment.' So, these things take their time to dribble down the food chain.
You get Don King's point of view in what is almost a Shakespearean, classical technique. He comes across almost like a lovable rogue, like Iago in 'Othello' or Richard III. He's doing all these bad things, but I kind of like him. It's like 'Pulp Fiction': Everybody's a bad guy, yet you like them.
Interestingly, the actress who, in her own persona, may be gentle, shy, and socially awkward, someone whose hand trembles when pouring a cup of tea for a visiting friend, can convincingly portray an elegant, cruel aristocrat tossing off malicious epigrams in an eighteenth-century chocolate house.
I hate the school of thought that says work is work and that you have to be unhappy at work because that's what work is. I totally respect the fact that not everyone has the choices that I have, and that some people have to work jobs that they don't like because they don't have any other options.
Say, this new home building idea of President Hoover's sounds good. They are working out a lot of beneficial things. The only thing is it took 'em so long to think of any of 'em. We ought to have plans in case of depression, just like we do in case of fire, 'Walk, don't run, to the nearest exit.'
There's a tendency for people to think that celebrities do whatever they want, spend whatever they want, and it's completely out of control. While some of that may be true, I've never met a celebrity who threw caution to the wind and thought they could do anything. That's not the thought process.
My dad had a couple of professions in mind for me. He either wanted me to be a doctor because he said male doctors make a lot of money, or he wanted me to be a soccer player. Myself, I thought that I would really love being a pilot for the Air Force. I really wanted to be a part of the Air Force.
I used to have terrible acne on my face: red, splotchy discoloration. And mucus - I was constantly blowing my nose. Then one day, this woman sits down next to me on a bus, and says, 'You're lactose-intolerant.' It all cleared up in three days. That changed my life. Doctors couldn't figure it out.
I remember my daughter Deni coming along, and she was so pure and caring of everybody and everything. And somehow, this little being managed to get around all the obstacles - the gun turrets, the walls, the moats, the sentries - that were wrapped around my heart. My heart at that time needed her.
'Pulp Fiction' was probably one of the first films I ever saw that really kind of took effect on me. I was about four years old - obviously wasn't supposed to be seeing that film; my sister kind of sneaked it out and we got to see it. She's older than me. That was something I always used to watch.
That was another incredible thing: the opportunity to be in Greenland, a place I had read about in NatGeo a decade before. Suddenly I was staying there and hiking there, and we took a mini iceberg out of the water and chipped it up and used it as ice cubes and made cocktails with it. It's surreal.
I do what I can, but I'll always give it a shot. You're not going to see me playing a Welsh character any time soon, not because I wouldn't love to. I went up to Wales once and read for a film with Rhys Ifans, and haven't been asked back since. We did have a nice time on the train on the way back.
I had a sympathetic role in 'thirtysomething,' and in two weeks I'm going to do the role again. But in the movies, I just love the heavies. It's much more fun. Villains are a ball. People have been laughing at me for 50 years, so I love to sit in the back of the theater and listen to them hate me.
I have every sympathy for writers. It's a mystery to me what they do. I can edit. I can cross out and say, 'I'm not saying that' or, 'How about we move this to here? Wouldn't that make that bit of the story better?' But where any of it comes from is beyond me. I will never write a play or a novel.
The world really changed after 9/11, not just in the tragic way, but in every way. So it took me a couple of years to even understand how my art form I could process any of this. When the world changed, eliciting laughter with subjects that were funny to me before 9/11 just didnt seem good enough.
If anything, as a general rule, the cheaper the movie the more creative the experience, generally speaking. Its not to denigrate expensive movies. I dont want to seem biting the hands that feed me, but with big movies, especially with a lot of effects, the role of the actor is somewhat diminished.
I will write a book one day about how I feel about every aspect of Emily Stone. She's a full genius. She has found her genius and is giving it all so fully and beautifully. I think everyone who works with her, brushes shoulders with her, or even makes eye contact with her, gets a shot of sunshine.
As an actor, you generally don't get to choose what projects you are part of, so I've been very fortunate that 'The Book of Mormon' was something I got to be part of. I don't want to be lofty, but it was groundbreaking, in many ways, for musical theater, so that was really thrilling to be part of.
Acting is a creative process, and directing and music. I think creative people - and I take myself as a creative person and it doesn't mean you have to be an actor, a musician, or a painter - but I think if you are in a creative profession or a creative business you do have a heightened awareness.
I liked Art Linkletter's way of conducting an interview while still keeping it light and I even admired Jack Bailey, host of 'Queen for a Day.' Particularly fascinating was how he could listen to all those awful tales of woe, then smile and slap someone on the back and declare her Queen for a Day.
It's hard to be surprised by a film. It's hard to be surprised by another actor or by a director when you've seen enough and been around. So when I am, or when I forget that I'm watching someone's movie, or when I don't know how someone made a certain turn that I didn't expect... You know, I'm in.
There are certain aspects of celebrity that I understand, although that's not the main point of the story [in Assassination of Jesse James] , but it is one of the by products. I certainly understand what its like to be hunted and have a bounty on my head but at least nobody is pointing guns at me.
Be fun! I don't like homes or rooms that don't have a sense of humor or have some sense of whimsy or a personality. Your home should reflect who you are, and what you love. I would never have something in my home because it's the thing to have. I have to love it and it needs some connection to me.
In the film world, and I know this from just talking to other people, that I'm known as a kind of dramatic, serious, almost humorless actor, and the fact is I'm a funny guy, and I spend most of my life trying to find a lighter side of things and on stage was given plenty of opportunity to do that.
I didn't realize - you think you are doing a movie but then you realize it's a Columbia Pictures movie so it's probably going to have some publicity. Then you see a billboard and it's like, 'God! I'm on a billboard!' It doesn't hit all at once, it kind of unravels itself and it's still unraveling.
If I'm not working, I really have nothing to do with it - I'm not hanging out and mixing with film people. Not that I have anything against film people; they're some of the best people around and some of the worst people around, just like in any business... they just gesticulate a little bit more.
In my career as a director, there's always been some point where you get halfway through it, or three-quarters, and you go: 'What is this thing all about, and why am I telling the story? Does anybody really care about seeing this?' At that time you have to say: 'OK, forget that and just go ahead.'
It's certainly true that I was brought up in that British amateur tradition, the one which always held that if you were reasonably good at cricket, knew one or two Latin texts and a few zingy Oscar Wilde quotes for dinner parties, you were pretty much ready to go and run some outpost in Hindustan.
They always say, doing what I do for a living, write what you know and then people will respond to it. I luckily had a very charming, lovable mom who I think everybody could see bits and pieces of their mom in. All I had to do was write a character that was like my mom, and it made my life easier.
Having a sense of humour is really key. You have to have a sense of humour with these things and I've just tried to remain who I am. My life has changed. It's changed in the fact that I don't have the freedoms I did before, but I've also got a huge amount of other freedoms that came along with it.
For me, Glasgow is all about the people and the spirit of the place. You have enough Gregg's bakers, though, I'll say that. The opening of the 1977 'Star Wars' movie was possibly the only time I've seen a longer queue round the block than in Glasgow for sausage rolls. That was quite an eye-opener.
I did get to hang out with my dad for a little while. I went with him to summer stock. I watched him be a real king of the world. He'd ship out as a star in summer stock. He sometimes directed the shows. I learned a lot from him - not just about acting, but about everything, how to handle a woman.
If you're black and have leukemia, the chances of finding a donor are drastically reduced. I added my name to the register, and lo and behold, six months later, I was asked to donate. I had a week of 'conditioning' where I had to take these pills and injections to create new stem cells in my body.
The problem with me is that nothing embarrasses me. Everything I've done ends up working in my favor. Even when I make mistakes and people exploit my mistakes on television or on the Internet, and they use it to make fun of me, it's just kind of working in my favor at the end. It's really strange.
For me, I'm always looking for opportunities to work with people who are better than me, who are more experienced than me, people from whom I can learn. And who could I learn more from than someone with an unprecedented movie star career that has spanned over thirty years whose name is Tom Cruise?
Everybody knows someone like that: wonderful, attractive people full of passion and ideals. You envy them, but you know there's a dark side, which is brutal and cruel and violent. That dark side informs what's wonderful about them, and the passion and rage inform the darkness; they're inseparable.
After 'Rings,' I had two feelings: One, I immediately didn't want to work on anything on a large scale. I wanted to work on something really small after I was finished filming the first three. But the other thing was that I had a continuing interest in working on things that were really different.
I've realized that what you think of when you make a 'big movie,' if it's actually a green screen movie, it's like doing independent New York theater because you don't have any backgrounds or props. So it's kind of like making the lowest budgeted film you could possibly imagine, plus $100 million.
I think there's a certain objectivity that comes from being Canadian. You're partly British and partly American; you have a good bird's-eye view of both countries. So much of the comedy that comes out of Canada is impersonation - it's less 'look at me' than it is 'look at me playing other people.'