Quotes of All Topics . Occasions . Authors
I've been worked over by the English press because there's an assumption that my politics are identical with my wife's, and for that matter that my wife's politics are identical with her politics of 20 years ago.
Saw has been a unique experience in that Ive had the opportunity to work with some really great artists, and everyone has contributed in so many different ways, in all of the different departments of a film crew.
Every time I make a "Mission" movie or other films, people kind of look at me and go, "Well, now what? What's next?" I think there's always going to be another mountain. I think there's something always in store.
I think New York style is unique because there's something resourceful about it. Utilitarian. Whereas in Los Angeles, I find people make their cars a day closet. Which, I guess, is resourceful in a different way.
In the industry, you do need some ethics - if one film does well, then thousands get work and money comes back to the industry. I guess the bottomline is, if there are two versions, then the better one will click.
I am looking forward to going to Dubai because it gives us an opportunity to interact with each other. We can sit and enjoy each other's company. We can go out for a walk without worrying about shooting schedules.
I do sometimes play characters that are a bit ambiguous. You've got to be brave about that sort of stuff. I like the sense of people not feeling too secure, not immediately knowing what they have in front of them.
I'm not a big gamer myself. I've (become) increasingly interested in games. And I certainly am passionate about, about storytelling in gaming. And, and the marriage of, you know, immersive characters, with gaming.
The dimensionality of 3D, the depth of field, the dynamism... it's an immersive experience. And on top of that it's great because the new glasses don't make you want to throw up and they don't give you paper cuts!
How hard could it be? Is it really going to hurt? You get into that deep well of emotion if you are by yourself. Why am I here? What's the point of going on? If I can't do what I want to do, then what's the point?
The fear really hits you. That's what you feel first. And then it's the anger and frustration. Part of the problem is how little we understand about the ultimate betrayal of the body when it rebels against itself.
I did loads of auditions and I didn't get called back. I still get giddy at all the people I get to work with, and I'm still enjoying the work and enjoying life too much that I don't feel like I've done that much.
As an actor, when you're winning the moment over, there's a truth to your intention. You might laugh at it or you might cry at it, but I think your visceral reaction to it is a reaction to the truth of the moment.
It's important for us to certainly cast some Christian actors who can speak to our audience when we market the films, but obviously we don't discriminate. So our crew and our cast, the beliefs don't really matter.
In times of life crisis, whether wild fires or smoldering stress, the first thing I do is go back to basics... am I eating right, am I getting enough sleep, am I getting some physical and mental exercise everyday.
All I would tell people is to hold onto what was individual about themselves, not to allow their ambition for success to cause them to try to imitate the success of others. You've got to find it on your own terms.
There is no barrier to Indiana Jones growing older. It's not an age-based character. We can't bang him up as much as we used to, maybe. But I guess I can pretend to have the capacity as well as I pretended before.
I want to feel that my characters evolved into a place that they deserved, that was sometimes unexpected, but where I would feel satiated that logically they have come to a conclusion that makes me feel satisfied.
I'll put it this way: with the kind of films that I do - creatively driven, with interesting directors and writers - I don't feel the need to work with the super established, top-tier directors that are out there.
My attitude about Hollywood is that I wouldn't walk across the street to pull one of those executives out of the snow if he was bleeding to death. Not unless I was paid for it. None of them ever did me any favors.
At home, our parents never compared us. I mean, there were seven of us kids. Obviously, I always looked up to my brother and his work, and I have nothing but utter respect. But I never felt we were in competition.
I'm sure part of the baggage that I bring having played a lot of villains is also pertinent to the movie [Before I Go To Sleep], because I'm sure people look at me and think, "Oh, I'm not sure I trust him or not."
With any project, but especially in television, I always try to look at where the character is starting from and where he's going to end up, and try to find the biggest arc that makes it the most exciting to play.
During the time I was on The Hardy Boys, I was also watching other people's careers. I thought the next step was to be a movie star. I kept saying no to projects, and offers stopped coming in. I was no longer hot.
Having learnt my basics in theatre, I always feel film is a collaborative effort. If you do your part well and help the person in front of you in realising his or her potential, the film invariably comes out good.
Although I myself have not been a huge follower of Shakespeare's dramatic nuances during my academic years, these plays that were penned down centuries ago loom large in every student's psyche, quite effortlessly.
Stepping into the "shoes" of someone's life other than my own, great movies such as 'Cinema Paradiso,' scenic landscapes, the work of Daniel Day-Lewis, the books of Joel Goldsmith, traveling, doughnuts, ice cream.
[Jim Belushi] and I have a great thing going, and a really weird, offbeat story. [Living In Peril] is the type of movie that I don't even know if it would be made today. Just a very odd film. But a very fun movie.
Are there not hours of an immortal birth,— Bright visitations from a purer sphere, That cannot live in language? Is there not A mood of glory, when the mind attuned To heaven, can out of dreams create her worlds?—
When I was younger, I was reticent to be vulnerable on camera and everything I was doing was just a really finely honed defense mechanism from when I was a kid, and I was now using this to make a living on camera.
I have gotten a couple of letters meant for Mr. Bean aka Rowan Atkinson. These letters would say things like, 'You're so funny, you make me laugh, with your big rubbery face,' and I would say, 'You can't mean me!'
I bring excitement on the sets. I'm an exciting actor, overrated, exaggerated. But I'm not an unexciting actor. I excite people. I never lose hope. If I feel that a film is going wrong somewhere, I do even better.
I was a mod when I was a kid. I'd be in Italian pencil-leg trousers with those bowling shoes you wear outside and a Fred Perry polo shirt with a V-neck sweater. It was like an Essex uniform - a very specific look.
It's so funny when you're actually directing because things start popping that you don't expect to pop, and something that you think is going to pop, maybe doesn't quite have the impetus that you thought it might.
I think the people who probably have it the best are the people on cable like on Entourage, the Sopranos, etc. who have 13 episodes per season and breaks to do films and theatre. I think thats the most ideal life.
Towards the end of the Lord Chamberlain's era, when his hold was being loosened, private prosecutions began to happen. A member of staff at the Royal Court ordered to stop the play, and the police were brought in.
I think if technology is used in a way that is not responsible, that is a bad thing. I think technology and where it is going inevitable, and there's great benefits that can help an individual in society at large.
If an ordinary person parks outside another ordinary person's house for a week, it's considered stalking. If, however, that person is considered newsworthy, it's perfectly legal for paparazzi to do the same thing.
I find historical figures in general very tricky because you feel at times that you're serving two masters. Not only the arc and wonderful writing that comes with the show, but also the history of a person's life.
Essentially, it is the director who is the creative head of a film. The final authority on all decisions lies with the director. That is how it should be. And then other team members can give their creative inputs.
When [Julia Marie Pacino] was 5 or 6 years old, we were in an Italian restaurant, and these people came by the table and they would start talking to me, asking me for my autograph and she just went under the table.
I really enjoyed multicamera comedy. You film in front of a live audience, and it's kind of the best of both worlds. It's like doing a one-act play every week, but if you screw your lines up, you get to do it over.
When you have children, you realize that at the end it's all about passing on, about handing down. The process of letting go, not attachment, but appreciating the beauty and value in the change, the transformation.
But I think there's something wonderful and extraordinary about climbing on your own and just that kind of relationship to the environment. I'm very addicted to the mountains. You know, so, I do like that solitude.
I sailed a bit as a child, but it wasn't until I was around 40, when I was halfway through Patrick O'Brian's 'Master and Commander' novels, that I had the sudden epiphany that I had to go sail on a square-rig ship.
I do think a good story in a novel is fair game and there's nothing wrong with adapting that. It sometimes gets a bit facile where they think: "Let's get the next best-seller and see if we can turn it into a film."
So, I think there's a danger that good stuff can fall by the wayside if it doesn't conform to formula. But I think it comes down to money and they just don't know where it's going if they haven't got any precedent.
It's like, you can't have any fun, and if you do have fun, if you do your own thing, you're considered crazy and should be in a mental institution. Now, that's what I find creepy. I'm eccentric. I am not messed up.
The atom was unleashed in 1946, right when all this stuff was occurring. And the bomb's incredible release of energy and light may have signalled somebody in a dimension which is sharing space with us very closely.
If you're lucky enough to be involved in a film that's about something very real and that you hope will continue to hold up in 20 years' time it just gives you more energy and makes it feel all the more worthwhile.