[Timm:] I’m not a huge fan of the CG properties that try to trick you into thinking you’re looking at a live-action film. I think the most successful CG films so far are the ones that actually have a stylized look.

I’m looking, and there’s Alfred Hitchcock...I got a chance to talk with his chauffeur, of all people. Who said that the last film, Family Plot, was largely directed from the limousine.

[McGregor:] Research I find very boring...it’s all just whatever’s required for that character. And if it involves sitting in a library looking through research books, that—you won’t find me there, I don’t think.

You know, life is tragic and comic. And it is excruciatingly painful and totally joyful. And you cannot embrace one without embracing the other.

[Routh:] There were kind of like a lot of Han Solo moments in there where he's up against something...but he's still calm and cool and collected and has some witty, sarcastic remark and saves the day... [Huntington:] Spoiler alert.

[Gaiman:] Originally the episode actually started as if you were in the middle of another episode. And the Doctor and Amy are off having an adventure, and they've been captured...[an] essentially Simpsons-style beginning...

[Wilson:] All those details, I think they help all actors. Y'know, Dwight's glasses and wristwatch: you put anyone in that short-sleeved shirt and those glasses and that wristwatch, and they're gonna kinda act like Dwight.

[Ronan:] I got to see everything in a new light, and so fresh and pure. So that was fun. And it’s something I've held onto, actually...

You can’t not like the characters that you’re writing...Even with, quote unquote, a 'bad guy.' You have to write them as if they’re making their case to God why they belong in heaven.

You really want the people you’re working with to be as great as they can be...You know, it often feels like a competition somehow. But it’s really not. That’s coming from a bad place, and it’s an illusion.

My eighteenth birthday, I was like 'Okay! I'm an adult now. I want to act!' And [my parents] were like 'Oh nooo.' They were hoping I'd forget, and I didn't. And I pursued it ever since.

I would prepare every day for ten months for a role. Now the problem with that is there’s only so much that a film role can express...I would do all this research, and then it felt to me like eighty percent of it was always just ending up nowhere.

I spent...three months doing ballet classes...Which is just an ass-kicking workout. And then I met a couple of dancers that had danced under him and interviewed them, and spent the evening sort of drinking wine and listening to their stories...

The meetings that you have with the costume designer are just as important as the meetings you have with the director and the writer. Because you are putting this character's aesthetics together.

Nothing's bigger than life. Life is great, right? Some aspects of life are bigger than others. Some personalities in life are bigger than others.

[Cage:] I like to take bad sounds and just see if I can make them sound good...And I make it extra-hard on myself. But otherwise it's not interesting for me. You know, so I'm always tryin' to mess it up a little bit, or subvert it.

These guys are just so involved in comic books, and all they've ever seen is Spider-Man's like this, Batman's like that, Superman can do these things...they're kind of brainwashed by this world...quite naively and not thinking about the consequences...

Kids who want to be astronauts get to go to space camp when they're little. I get to be on a sitcom...people have this connotation with child actors that, like, you know, it's some kind of horrible burden. But for me it was great.

[Moretz:] You really get into character when you put on the jacket and the pants and the boots and the amazing wig...I kind of walked like a boy. It was really funny. Every time I was in that costume, I was always, like, really tough.

[Goldman:] Matthew and I were concentrating on the movie, and John and Mark were concentrating on the comic—apart from when we stole John away to do the animated sequence!

When we think of our heart or soul, we kind of press toward our actual physical heart, but I think that kind of soul or emotion can’t exist on one’s own; it has to be between people...

I had an appointment in an [ad] agency in San Francisco. And some people told me, 'Every day we heard something about Amélie. "We want the style of Amélie!’...If I could have one dollar for each time...

Logan Lerman: Acting’s the hobby...But the art is in filmmaking...My goal in life is to be a good filmmaker.

I was fascinated by Sky King, until I went to the studio one day with my Dad and met a pudgy little man, who didn’t fit my image of Sky King. But I think that tweaked my interest in the whole business of show business.

[Linklater:] You can feel...him pushing the boundaries or finding maybe there aren’t any boundaries to his own genius and to his behavior and his appetites. You can almost feel them expanding as you watch him.

There’s so many heroes that I admire, like the one general called Zhao Yun, who is saving a little baby in the middle of all the battles...I used him for Chow Yun-Fat in Hard Boiled.

Spike Jonze: 'That was sort of the goal of the movie, really, just to try and capture the feeling, to make a movie from the point of view of a nine-year-old. So the viewer is for that period of time experiencing the world from that vantage point.'

I’d like to believe that he’s wondering the same questions we are: 'Why is this happening to me? And how do I get myself out of this situation?' He’s tryin’, y’know?

I had made a[n] X-ray machine for science fair in high school...And then read somewhere that it could actually make you sterile. And then I built this big lead box. And so that was kind of in my mind, about protecting the testes, for a while.

I know when I die, my obituary photo is going to be me in a police uniform standing next to a talking horse. I mean, I know that. I know that that’s the clip they’re going to play on Entertainment Tonight.

That’s my mantra. You’ve got to find a way to make things personal.

It's really a foray for him, into a world that he doesn't know, on many levels. I don't know that he's ever necessarily kissed a girl, so there's that...I kind of credit Adam with the bravery to pull it off.

People with Asperger's are as varied as the rest of us...There's a saying in the Asperger's community, which is 'If you know one person with Asperger, you know one person with Asperger's.'

He’s a kid who just didn’t have any intention of staying in Dillon for the rest of his life...it would wear on him a little bit. And I think it will be interesting to see how that happens...how long he can endure it or not...

There’s a Korean saying...if somebody [who] has achieved everything is saying something to somebody who is very downtrodden and tries to encourage him by saying, 'Well, if you do it, it’ll happen,' there’s no greater mockery than this.

What I want to make fun of is the people who didn't get better; they just learned new words...I have zero tolerance for those people. 'Cause they're...like 'Oh, perhaps if you didn't get it yet, it means that you're not ready for it.'

Haley: 'Every punch, every kick is a lash-out against his mom and the horrible upbringing, the neglect, the beatings that tweaked him...he needed to go out and come up with this black-and-white sense of justice just to survive.'

Wilson: 'the leaps that they had made, or the changes that they made, rather, from the graphic novel sort of left room for a minor bit of input, at least, from our side.'

I guess you just gotta lady it up, you know what I mean? You can’t be a man in lady’s clothes...You kind of got to get into actually being as much of a woman as possible so that people can believe the jokes, I guess.

I’m fortunate in that—since I do a lot of voices—a show like this always needs their Hank Azaria guy that's, like, fill in, you know, 'Man #7'—you know, 'Guy Behind Door.'

Common: 'One day they came and told me...'Yo, it’s the scene your brother got killed.' I’m like, 'I didn’t even know I had a brother!'...when I got to the set, they was like 'Oh, he’s not your brother anymore.'

With the second one, should we be able to make it, I can’t stand how excited I am about it. Let’s just say that it involves time travel, and it involves John Connor once again trying to galvanize the forces of those who think he’s crazy.

Yelchin: 'I just kind of fully embraced Chekov...there’s no point to losing the potential within Chekov just by making him a Russian kid...it’s a Cold War stereotype meets Davy Jones, you know?'

Zachary Quinto: 'There is an optimism that lives in the heart of this film and in the heart of the franchise that I think is a really great thing for us to be able to share with the world right now.'

The training was great...it was sort of like simulating the Starfleet Academy. And it just felt like we'd gone through something together.

It’s wonderful for me to see it with audiences now because they just laugh, or they’re really scared or they’re really touched, you know? It’s got all the elements of the '50s movies, but with the added layer that it’s funny.

Do you realize, the lesson at the end of this movie is just 'Call your mother!'? I understand that!

We get in these super-huge geeky debates sometimes about 'Oh, Steve Trevor would never say that' or...'That’s completely out of character,' and it’s like, who says, ya know?

Batman and Superman and Wonder Woman are their most precious babies. All the other characters, they’re like 'Oh yeah, fine. Whatever. Sign off, they’re cool.' But Wonder Woman was a bitch to nail down.

Maybe it’s like: the alcoholic becoming sober. Because basically what she went through is technically horrific, but when she gets emotions and she gets conscious, technically she’s 'coming right.'