Damien Chazelle & Justin Hurwitz—
La La Land
[Chazelle:] See if you can marry two things that feel like they should not exist in a movie together: the heights of musical spectacle that we're used to from Old Hollywood with a more documentary-informed sense of realism...
I'm a science-fiction freak...I dig that sort of stuff.
20th Century Women
How did I get to be this person? What's the history of me? And is it the right story?...And I like trying to get people I've known right on screen.
Gregg Henry—Guardians of the Galaxy, Body Double, Jason Bourne—08/28/2016
The first thing I did with De Palma was
...A De Palma set is a very different kind of set than a James Gunn set or a Paul Greengrass set...He likes it extremely quiet on the set...
Guardians of the Galaxy
[Vol. 2] starts only a couple of months after the first one...understand, from Kraglin's point-of-view, that Quill did double-cross them...And so the movie starts from that jumping-off point of 'I'm not sure everything is feeling great in Ravager-ville.'
People['s]...imaginations are going crazy as to what [Eddie] could be next. And I would love him to have powers and come back. Especially now with 'Flashpoint'...
John Krasinski & Margo Martindale—
[Krasinski:] I needed to make sure that we weren't making a 'movie family,' that you could project your own family into them. It had to feel like your family, it had to feel like your hometown...it had to feel like you were living through this with them.
Jonathan Groff, Murray Bartlett, Frankie J. Alvarez, Raúl Castillo, Lauren Weedman & Daniel Franzese—
[Groff:] We're seeing Patrick become a man and sort of come into his own. And be okay with not having an answer...I didn't consciously try to put myself into Patrick, but inevitably...when I'm playing a character, it starts to bleed into my everyday life.
Ira Sachs & Theo Taplitz—
[Taplitz:] Life may not always be fair, or good, but there's certainly moments of it that can be quite amazing...What [Jake] learns from Tony is to be sure of himself, to be there and to be proud of your decisions.
Don't Think Twice
No one knows how to direct a movie, no matter what anybody tells you. Nobody knows how to direct a movie until you've directed a movie.
On a daily basis, you're re-calibrating, if not an hourly basis, trying to do the right thing by your children...They're only in the house so long, and I'm curating their lives.
She's almost, in a strange way, like a saint. Even though she keeps making wrong decisions, she's very ethically motivated...
Susan Sarandon & Lorene Scafaria—
Thelma & Louise
[Sarandon:] I think everybody can act, really. Surviving in this profession is something you can brag about.
Anton Yelchin & Jeremy Saulnier—
Star Trek Beyond
[Yelchin:] I think there's a selfishness to acting, but it's a selfishness that I
be thinking about anything else.
Tom Hiddleston & Marc Abraham—
I Saw the Light
[Hiddleston:] I sort of represent Hank Williams' experience for the world: his truth. His joy, his pain, his struggles. Dressing like him, sounding like him, speaking like him, and singing like him.
How inclined we are as parents to project ourselves on our kids: what we want them to be, what we think they should be. We can't help ourselves....But the essence of being a parent...is just giving up. Giving up that control.
Take Me to the River
We have to play the role, fake it, before we actually have earned the right to call ourselves adults, and there's nothing wrong with that. But it does sort of set us up for this kind of fall.
Sally Field & Michael Showalter—
Hello My Name Is Doris
[Field:] Trying on clothes...that was how I started to find who she was...It was when I started to play dress-up with these racks and racks and racks of old, revolting clothes.
Eye in the Sky
My dad...used to just say, 'Don't act. Be...This is not about you. You are here representing another human being. Get your ego out of the way and honor this person and represent them with humility and truth.'
Reggie Watts & Benjamin Dickinson—
[Watts:] Dancebots! I'd just love to see an entire ballroom floor of people in exosuits!
How to Be Single
I started doing a lot of research into the science of love and sex...And I met my husband and he didn't check off a single box on my list. He just loved me and I loved him.
László Nemes & Géza Röhrig—
Son of Saul
[Nemes:] It had to be a very organic process. We wanted to rely on the imagination of the viewer.
Austin Powers: International Man of Mystery
We did tons of research, interviewed the daughters, and even got to talk to Kirk Douglas before we started shooting...we tried really hard to be completely authentic...
Abi Morgan & Sarah Gavron—
[Morgan:] Part of our desire was to give voice to the voiceless...these extraordinary working-class women.
Cary Joji Fukunaga & Abraham Attah—
Beasts of No Nation
[Fukunaga:] I'm not sure where I'm headed...I still look at all these movies as an experience to learn from.
Everybody understands when we make a conventional technique—it's very direct. But I feel that's reducing the human power of observation...
The Amazing Spider-Man
It's a tricky thing...you're going to get different accounts of different instances from different people.
The Garden of the Finzi-Continis
[De Sica was] Like a general...he said to me, 'I want to see in your eyes all the psychological passages of your emotion.'
Lily Tomlin & Paul Weitz—
[Tomlin:] I like to do it all...you want to get as much information, as much input as you can...I like to learn something that I can do in the scene...
Sir Ben Kingsley—
Learning to Drive
—8/25/2015 & 3/05/2005
I was taught to deeply respect the written word...the role is on the page, the character is in me, and I suppose I bring my intuition and my wisdom and my love of language to that page, and that's how it comes to life.
Mark Burton & Richard "Golly" Starzak—
Shaun the Sheep Movie
[Starzak:] We add the mumbling for comedy or to help a story point, but generally we try to keep it as dialogue-free as possible.
Marielle Heller & Bel Powley—
The Diary of a Teenage Girl
[Bel Powley:] Reading it made me realize how much we don't talk about about teenage female sexuality.
Jason Segel & James Ponsoldt—
The End of the Tour
[Segel:] I really did relate to this feeling of extreme caution that, uh, even something I say off-handedly could now be printed out-of-context, anywhere, for the rest of my life.
Kyle Patrick Alvarez & Dr. Philip Zimbardo—
The Stanford Prison Experiment
[Alvarez:] I wanted it to be a collaborative environment. I didn't want to pit the actors against themselves. The characters are pitted against each other. So the actors didn't have to be.
My Fair Lady
Theodore Bikel: In the Shoes of Sholem Aleichem
I'm a communicator. I reach an audience by whichever means are possible, and my voice is one of them. The other is the ability to clearly enunciate what it is that I want to say...And to treat everything as a story to be told.
—July 10, 2015
When I got to set, [Woody Allen] kind of showed me what the temperature of the movie was. I didn't know if I was in a comedy. I didn't know the tone. I thought a lot about jazz when I was working on this.
Tab Hunter Confidential
It's not an easy business...
Thomas Mann, Olivia Cooke, & RJ Cyler—
Me and Earl and the Dying Girl
[Mann:] It's about the importance of opening up, or letting people in, and making real connections. Even if you're facing rejection, it's ultimately more fulfilling, and you at least can learn something from it...
Me and Earl and the Dying Girl
The script already has such a beautiful rhythm...quite playful and fun...As he starts to come of age, the movie starts to be still and quiet, and so that's the kind of big picture that we set out to design the film together.
It's a prison movie when you think about it....you know, his being watched, infantilized. And yeah we're talking about this specific period of his life and his career where it's a dialectic between work and life, and enjoyment and freedom...
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