Voice-over...it's the ultimate acting, because the blind voice, you're not judged by what you look like; you're judged by what you sound like. So you can be anyone. You can be any nationality; you can be—I could be a dude. You know?

[Broussard:] I think he was just lost. And he got lost a little more, but at least he was being loved and at least he learned something from that...not only about the consequences but about who he was. And it’s okay to be who you’re gonna be.

[Denisof:] He wanted to bring a feel of the mid-century Golden Age of moviemaking, the noir, romantic noir, comedy: some hybrid of that. So kinda keep pushing the tempo of it a little bit so it stays fast and muscular.

[Judy Blume:] My father did die suddenly when I was twenty-one...I really don't think I was thinking of that when I wrote the book, but now that I see the movie, I know that it is so much of understanding of loss of a beloved parent...It's so hard.

Everybody goes off and has careers and that kind of thing, so it's been a little challenging to schedule everybody together. And, um, but we've all—everyone who's agreed to make this movie has agreed to make this movie.

Winkler: I don’t know what happened to me, but when I first read this script, and I went in, I did it with a great calm. I just did him, and I spoke very quietly...he’s always on the verge of possibly crying, it seems like.

I did play those kind of parts, quite frankly...maybe a little bit too much...So I made a decision that I did want to kind of harness whatever a-hole capabilities that I have and use them for good.

[Pegg:] Kirk is emotionally compromised from the start of this film. You know, he's driven by something other than sense. He's driven by vengeance. And Scotty really is absolutely right to stand up to him...

[Quaid:] It’s like a process of osmosis...I was thrown into the place, and I was just trying to soak in as much as I could from the farmers, from the feel of the place where we were at...

[Wagner:] Blake...had it in his mind. But he used a lot of what happened and what the actors would bring to it...the thing with the hook on the door and me going around and all that—the sweater...all things that came up as we went along.

None of us are doing peer-reviewed stuff on the things that we believe; we’re just sort of swallowing whatever gets published in Scientific American, or whatever, which is not a horrible thing, but...we obviously don't know everything.

When I saw Gospel According to St. Matthew, I started getting heart palpitations...It was the best movie I had ever seen...I had to crawl up to the projection booth and call my girlfriend and have her take me to the hospital.

My role, I think, as much as the book, is provide a platform so people can talk about the irrational.

I've never done heroin, but heroin addicts say it's always trying to chase the euphoria of that very first hit...For a filmmaker...that first movie is such a grand exhilarating adventure, and you're always just trying to replicate that.

I feel, for any storyteller, anyone making any piece of art, the more specific you can be, and the more truthful detail you can imbue into what you're doing, the more universal your story becomes, oddly.

That positive, enthusiastic outlook, combined with the topic of sex, seemed like a great thing to be able to play.

I stumbled across this article, 'On Seeing a Sex Surrogate.' And...it was a bit like a 'burning bush' experience; it had a profound emotional impact on me. And I thought: if I could reproduce that, in a film, then I would be making a good film.

I knew from an early point that if we were making a movie in these big fantastical worlds that it needed to be grounded by something that was existential and something that was very personal and internal to the character.

[McDonagh:] You can never have too much Catholic guilt.

[Booth:] An idea that Ira tossed around a lot to me when I was working on this character was control...to find those places where you could be possessively loving of someone and do it because you care about them but also...to protect yourself.

[Fell:] I think this is probably the most ambitious stop-frame project. I mean, you know, it’s all hand-made. You don’t get anything for free. Everything is built. Every blade of grass is cut by hand by somebody and constructed...

[Jones:] You read a lot of screenplays, and you read some that are pretty damn good and then you read some that are not so good. And you wonder if anybody’s even heard it out loud. And I think you think, you know, 'I can do this'...

[Edgerton:] Being an onscreen parent is definitely a responsibility because kids, where I come from—it really can spin their life out of control...

[Chandrasekhar:] The props people came up with the just perfect melons, and photographed them in a way that, you know, you really want to go at 'em a little bit.

I realized early on that all of us were capable of good and evil. That it’s within all of us. And that’s how I approach the stories I do.

The movie is, in a lot of ways, a product of just a very extensive investigation, of just kind of hanging around seeing what was going to happen.

[Jaglom:] The best advice anybody gave a young filmmaker was delivered by Orson Welles.

My first experiences of love relationships were experiences where I felt like I was walking into just a land mine of preconceived notions.

[Mike Okuda:] I grew up watching the Apollo moon landings...and the amazing things that the astronauts and the nation did, going boldly and doing it for the benefit of all humanity...here is this television show that embodied that. That was just so cool.

[Nolan:] These are larger-than-life characters, and I very much enjoyed tapping into the sort of operatic sensibility of that...naturally from that you’re aiming for a sort of mythic status.

Chris Nolan coming on board...just the fact that they'd asked him to do it meant that they didn't want the same thing that we'd seen before, which is what I was interested in, creating something completely new.

[Murphy:] I was fascinated by...how intelligent people would set aside logic and reason and rational thought because they just needed to believe.

Taking into consideration the ego and the vanity of this species of ours, I believe that a zucchini is also one-of-a-kind, and that there’s nothing more intelligent than vegetation because it simply is, and that’s all life is about: being.

The high spirits that begin the movie are supposed to be, in some sense, a representation of youthful frivolity and joy. And this is a character who is clinging to his youth and suffers from its irretrievability—the hopes and dreams of his youth.

What’s great about acting is that, underneath the ego and the id, everything about a human being is the same as everyone else. We’re all made up of the same things.

There is a certain level of privacy that leaves immediately when you set foot in this small town, y'know? Everybody heard what you had for dinner last night and who you had over.

[Pine:] Kirk is still on that journey...our new film explores that even more: of what it means to be a captain when your kind of innate brashness and confidence comes head to head with the stark responsibility of leading men and women in battle.

I do know what it is to be alone in a crowded room. Where you're surrounded by people, but you feel very, very lonely. Because everybody's biting at you 'cause it's just all about work.

[Toledano:] I think it's a cultural problem because, in America, each time you are touching [on] the relation between race and black and white, it's touchy. In France, we have not the same story [as] you. We have not slavery; we have colonization...

The surprise every morning of when that face was finally on: it was somebody that wasn't me. You know, I never thought of how masculine or feminine she was.

Jim used to always con you into doing things by saying, 'Oh no, it'll be great. It'll be really nice.'

You know, 'I'm gonna direct this film about a woman and her struggle to conceptualize God'...It's like, 'Are you insane?  Are you possessed?'

I have no interest in manipulating a performance. I want to unleash a performance. And I want to witness a performance. And obviously use my camera as tellingly as I can to capture that.

[Spencer:] Long before...people who were housekeepers and perhaps felt invisible, I think it is always a gracious thing to acknowledge someone’s influence and going out of their way to help you. So, absolutely. I will always say, 'Thank you.'

[Ansari:] The worst job I ever had was I used to make crystal meth, and it was really hard because the lab would just explode all the time, and it was a lot of cleanup.

I’m a big fan of those...late '60s, early '70s movies that all had this...anti-authoritarian edge to them as well. So there are a lot of dumb jokes in the movie, but there are other jokes that are...a bit more pointed and confrontational.

I never wanted to make a smear piece or a derogatory look at the group...At the end of the day, I’m always going to be a fan of A Tribe Called Quest.

[Michael Biehn:] I watched T4 about a year ago or whenever it came out...it didn’t appeal to me at all. You know, at all. But, if they came to me and said, 'Here’s a check...'

[Reynolds:] Yeah, there's a lot of daddy issues in the movie. I have some daddy issues, so we'll keep some tissue nearby. Yeah, he needs mentors.

When Mark Strong first walked out in Sinestro makeup. And he said, 'How’s it look?' And I was like, 'That—you’re Sinestro.' That was the best thing.