Quotes of All Topics . Occasions . Authors
I think you couldn't do this role or you couldn't be Frankie Valli himself unless you had a natural falsetto. And I had sort of discovered it by accident as a child or a young adult when you realize you have a special skill that you don't really have any use for you, and you just take it out at parties or to amuse your friends or to annoy your girlfriends.
I don't live in Ireland, I live in London with my girlfriend; and it's because of the globalization of our planet, it's not necessary to live in Los Angeles to be a successful and any country is just an airplane ride away. If there's a director who wants to meet me or if there's something I have to do, I can just hop on an airplane - the world's small now.
It doesn't seem weird to me, at all. I'm in Baton Rouge getting ready to direct a movie for Sony, and I'm in the movie and I'm directing it. I know it's kind of this thing where some people find it difficult. I just finished a movie with Mario Van Peebles and he acted and directed as well too. I think we all feel similar that it just kind of seems natural.
If I'm given the opportunity of writing, directing and acting in the same film I would love to do it again. It's something I don't think that anyone else is doing in the country at this level... not many people are doing it in the world. I think if you check that out and find it's quite accurate, there's only a handful of people that actually are doing it.
I remember hearing a good story about Jack Nicholson working with Stanley Kubrick on The Shining [1980]. Nicholson was saying that, as an actor, you always want to try to make things real. And believable. When he was working with Kubrick, he finished a take and said, "I feel like that was real." And Kubrick said, "Yes, it's real, but it's not interesting".
Liam in Taken has been great to see. My boys love it. They love him. And there's just the gravitas to it. It's believable. You know the guy's endured. You know the guy's lived some life. Someone like Liam has lived a lot of life. Myself, I've lived a lot of life. There's loss. There's success. There's loss. There's doubts. And there's some heartbeat there.
There's no question about it. Beaumarie St. Claire and I, we created Irish DreamTime after GoldenEye hit. We made movies like Thomas Crown and The Matador. And in between my stints as James Bond, I'd go off and I'd do something like The Matador or Tailor of Panama, which was spy related, just so I could shake it up. It's a genre which really appeals to me.
One of the great things about the old days of television, 10 years ago, or 15 years ago, was that it was water cooler television. People would communally watch the same hour. People used to tell us all the time, we turn off the phones, we put the kids to bed and that one hour is uninterrupted. Then, the next day at the water cooler, they all talk about it.
I want everybody to find meaning in whatever they do. That's the only purpose to life, actually. Let that meaning be so strong that you can't not wake up every day and be like, "Yep, this is what I gotta do, let's keep it moving" and not be disgruntled about it, and start using other people as excuses for why you're not creating a better life for yourself.
The weird thing about serious acting is I've always done impressions of people, all my life, and I did the thing called a balloon debate. The idea is there's a hot air balloon traveling across the Atlantic and it's going down and you have to give a speech as to why you should stay in the balloon. Six people are going to be chucked out and you want to stay.
I used to say I live my life a quarter mile at a time and I think that's why we were brothers- because you did, too. No matter where you are, whether it's a quarter mile away or half way across the world. The most important thing in life, will always be the people in this room. Salute mi familia. You'll always be with me... And you'll always be my brother.
Working with David Cronenberg or Darren Aronofsky or even Steven Soderbergh isn't really like a typical Hollywood movie. These are true artists, and have a certain amount of freedom when they work, and they're more like independent filmmakers making their way through big studios. I still don't feel like I've been part of the stereotypical Hollywood system.
A perspective that allows you to consistently make decisions based on the right set of criteria. Positivity and forward thinking. I work on that one every day, and every day I get a little better. Better at knowing that there is no obstacle that I cannot overcome. Nothing I can be faced with that I won't grow mentally stronger and wiser from having endured.
I was staying on [writer/director/actor] Eric Schaeffer's couch in New York, and he said, "I've got this movie [If Lucy Fell]. Can you do five days on it?" And I was like, "Yeah, anything. Twenty-four hours times five is 120 hours. Oh, great, I'll fill 120 hours of my life with something." So I did that and it was fun, and then I did Flirting with Disaster.
I admire David Hare as much as I admire certainly any writer ever. What I like about his writing is it is very conscientiously, in one way, an attempt to reproduce the way people actually speak, but it's not just an attempt at naturalism. It's stylised and it's heightened, to great effect. It's elegant and it's funny and that's the way to my heart, frankly.
If you're in the heyday of rock and roll and movies, and that's where I grew up. We didn't have to look for it. We didn't have to create angst. We didn't have to create desire. We didn't have to say, see we were screwed, my generation, because we wanted to be The Beatles or Elvis Presley. That ain't going to happen. So we always had this thing to reach for.
So we [with Chris Ellis] did [Fresh Hell], and we did the first five episodes as a lark, just to see if anybody would respond or be interested, and we got enough feedback that was positive that we thought, "Let's keep going with this and see if we can flesh it out a bit this season." We've had 10 episodes, and they've been longer and a little more complete.
When I did Ben 10, I really didn't know anything about Ben 10. But when I went back to visit my son Pierre and told him what I'd just done, he said "You did a Ben 10?!?" and then he started yelling out to my grandson, "Luca, Luca, come here, Granddaddy did a Ben 10 show." You suddenly discover you're gratte-cul with a five-year-old, and that's pretty cool."
In marriage, if you're a guy, learn two phrases. One is "yes, dear" and the other is "honey, you're right." Be patient. Be good friends first. And stick together. You gotta work at it. It's not all a honeymoon, it's not all flowers and roses, but if you're friends and partners and committed, you'll be okay. And everybody's got advice for you - don't listen.
I think the most important thing is authenticity, just being as real as I can be. But also flexible and open to change and other ideas and thought processes. Back when you and I last talked, I was at a turning point in my life, and I was having a tough time. I was hiding it, but I had a really hard time just being me. So now it's important that I'm just me.
There's this kind of incredibly mistaken idea that because it's so much cheaper to roll the camera than it used to be and it's so much easier to accumulate a ton of footage, that then you can just go shoot a ton of footage and the editor will make sense out of it. But if you don't have something deliberate made, you're not gonna save it in the editing room.
I'm always interested in playing different people, in different situationsIt doesn't matter to me whether someone is in love with a man or a woman. I find the idea of love and romance interesting. I'm a sucker for it. I like playing someone who's falling in love because I like the sensation of it. People do extraordinary things when they're falling in love.
I can't not have something attached to like what actually happens in real life. Like I can't do a romantic comedy without there being something where like, in the case of Annie Hathaway's character, her character ends up having Parkinson's, you know? To me, I feel like that's love, you know? Like to me. So every movie has to have that kind of sense of that.
In 22 years of acting, I've only done two movies where I, personally, kill people. The Coens called me the Spanish Ballerina on (the No Country For Old Men) set, because every time I had the gun, when they called cut, I'd give it back and say, 'Take this s**t out of my hands!' There were laughing, like they couldn't believe I was supposed to be the villain.
Involve yourself every day. Work hard and figure out how to love acting all day, every day. It's getting into a made-up situation and making it good and making it real and just playing, just practicing and playing. Like the musicians that I played piano with: they never expect to be rich or famous, but they, for the sheer joy of it, play every day, all day.
My teacher in the seventh grade told me that if I didn't fool around during class, I could have 15 minutes at the end of the day to do a comedy routine. Instead of bugging everybody, I'd figure out my routine. And at the end of the day, I'd get to perform in front of my entire class. I thought it was really smart of her. It's amazing how important that was.
The exit from agony is always there. The tunnel out of the agony sector is always in front of you and yet you don't take it. You don't take it by choice. You want to indulge a lot and be in pain. The easiest way out is to write a list of what you're grateful for. If everybody literally did that before they went to bed at night, there'd be no unhappy people.
It isn't called TV money for nothing. There was a time where I paid my rent by doing theater for years, and I was able to buy groceries and pay my electric bill. I considered myself to be making a living as an actor. This kind of money that we make is a whole other level, of course. But it really is simply the cherry on top of a job and a role that I adore.
I'm always sitting down and talking to people that are doing independent features. It depends on the project and the quotient of the people that are involved. There are a lot of different reasons [to do something], like a particular script that resonates with me, in a particular way. It may not so much even be about the part, but what the script has to say.
I did feel Dr. Cox, the character that I was auditioning for, was too similar to the head of the hospital. He was too arrogant and mean. I approached him kind of like I had a miniature Max sitting on my shoulder. I pictured Max saying, "This guy has got to give love every once in a while. He has to!" I knew there had to be tiny little windows of redemption.
My films are expressive of a culture that has had the possibility of attaining material fulfillment while at the same time finding itself unable to accomplish the simple business of conducting human lives. We have been sold a bill of goods as a substitute for life. What is needed is reassurance in human emotions; a re-evaluation of our emotional capacities.
Very, that show is crazy. It was like doing finals every week. It was interesting. I really learned a lot. The dialogue is so technical. I was so impressed watching the other actors and how they managed, so I studied them. And I was blown away thinking: "How do they do that? How do they put that extra spin on the complicated dialogue to make it interesting?
I think today we've gone so far technologically and also just emotionally and psychologically, I mean there's a lot of crime out there and there's a lot of stuff going on. People don't care that they're going to go to prison. They couldn't give a rat about the repercussions. They go out and they do what they do and they don't care about hurting anyone else.
When the AIDS epidemic first started there were people who said, "Well, if there weren't gays, then we wouldn't have this problem. It's got to be because of them - let it be them instead of us." But when you educate yourself about it, you can't help but realize that we're all affected by it. I think that things like that just become too daunting for people.
I had a lot of nerves for a long time about career-oriented things, and I've slowly sort of let myself relax into it a bit. Part of me thinks that's maybe the effect of being on two hit shows. I like to think that maybe it's more: You do the things you do, and you do the best you can, and that's all you can hope for, and don't worry too much if it's not it.
Being a part of independent-film world, the independent-film community, that's what you do. You support each other. If someone's doing a movie and you trust them, you roll the dice. Sometimes it's gonna be good, sometimes it's gonna be something that's like, "Oh I don't know what the hell that is." But I've been more fortunate than not to have it work well.
I think, in life, being nervous about something that's forthcoming is very helpful, whether it's an awards show or a family gathering or a job interview. If you're too calm and confident, then I think you aren't executing to the best of your ability. So I try not to let nerves get the best of me, but I welcome them because it tends to fuel me to try harder.
Even where the game is today, cats don't really focus on necessarily what it is that you're saying so when people say, "Oh, you can't rap," I play into the joke. That's why I'll challenge anybody; anybody rapping, let's go just because I know what the art form is and even when you see these battle rappers in here, they're so skillful. It's actually a skill.
The concept that a person who has a lot holds his hand out to someone who has less, or someone who isn't hurting holds his hand out to someone who is, is simply a human trait that has nothing to do with celebrity. I am confounded at the stinginess of some institutions and some people. I'm bewildered by it. You can only put away so much stuff in your closet.
When you're kissing a woman and you want it to look realistic, you're thinking, 'Am I taking advantage of her? Is her boyfriend going to think I'm over-stepping the mark? Whereas when you are kissing a man, those thoughts don't cross your mind. I'm more scared of it looking false, so I went for it fully to make it look real and hopefully I've achieved that.
Being known for Bond, certainly when you're in foreign countries, makes people curious. You get to see presidents because their wives were curious; their children were curious about Bond or The Saint or whatever. Then once you have your foot through the door, you can then let them see that you're serious about what you're talking about, and not just a twit.
I played Lucky in Waiting for Godot at Yale and it was a thing that Stanislavski talks about: he says you don't need his 'method' if you can count on your inspiration and it was a moment of inspiration that came to me, not in rehearsal but on stage. It hit me right there in the middle of the play and it was great - it travelled into immediate communication.
New York feels like a sublet of Europe. And Europe is a sublet of New York. Put it that way. It's so accessible. When I was in LA, I felt so far away from my home. Home, for the moment, is here until it's not. I like to move around with my work. I feel it's a great way to learn about life, about new cultures, and to learn. We'll see where the wind takes me.
The NFL culture, the sports culture, has decided that they are more valuable than women. I've heard people laugh about keeping their pimp hand strong and keeping her in control so that she knows her place. But think about how evil that is for one man to think that he's actually more valuable than a woman, because as a human being your worth is immeasurable.
The filmmakers aren't running the studios anymore. Sometimes people who like films are making them, but by and large, they have to go report quarterly earnings and all that stuff. The competition is so huge that it's very hard to get people to show up to see any movie in the theater, much less an original one that isn't a version of something else they saw.
I don't think there are any rules in real face-to-face relationships or interactions. I think authenticity and being yourself is always, without a doubt, the best plan of action. Things happen differently when you're actually here, so you can't put out a general guideline that's gonna show up in text and be interpreted. There are no rules. Just be yourself.
It's basically how I choose movie roles. Would I like to see this movie? Is this movie important? Why would I do this? And Headhunters is a movie that I would like to see in the cinema. And when it's sold to 50 countries or whatever, for me it's a great deal. I make movies for an audience so if that audience grows, I feel really honoured and thankful for it.
Wray Nerely, the character in Con Man, he actually had a role in Rogue One, but he got cut. It sucked. John Swartz, the producer, is a big fan of Con Man. I even got to screen Con Man while we were shooting Star Wars. They had a theater there, and they let me screen one of the little 10-minute episodes for everyone. What sucked was I had to follow Star Wars.
When you begin to believe you have license because you are a special person breathing special oxygen, that's when you're in big trouble. That's the road to insanity. And a lot of people in the studios are like that. They believe that they are special. I do think actors are blessed, or cursed, with maybe a slightly heightened awareness, which you have to use.
I love doing it [hosting the Oscars] because I love the danger of it and you have to come through and think on your feet. That's why that show, no matter who hosts it, it really should be a fast-thinking comedian who is really quick on their feet that can handle situations that happen, or somebody with that kind of mentality that can capitalize on something.