Quotes from Greg Kinnear

I'm very leery of show business, having been in Los Angeles for the last 10 years. Buzz is a dangerous thing that I've heard applied to a lot of people that I've since not heard of again.

Here's the thing about movies, all movies end up on television. That's their life. Whether you like it or not, I don't care how much money you spend on it, or how big or broad the film is, or who the actors are in it, eventually it's all coming out of the box.

I was always explaining why my term papers were never on time. I think that's where I got my acting training!

Well, I don't know what image people have of me.

The automotive corporations, including Ford, I think are in the business of trying to make cars that people will drive.

The tragic element of a character is always intriguing I think.

We all have to lead double lives, not just celebrities. The face we put on publicly with our jobs and certain situations. I think that's part of the human condition.

I don't think there's any connection between my journalism career and my film career. They are two totally different mediums and very different skills.

Sometimes I look back and think, 'Good. I'd love to go in and bang out a good episode of 'Talk Soup' today.'

You learn more about a person from the people around that person than you do from the person themselves. We all have our own ideas of who we are that may or may not be justified, and you can really find out a heck of a lot more accurately from the people around an individual.

We all have our own ideas of who we are that may or may not be justified, and you can really find out a heck of a lot more accurately from the people around an individual.

Part of filmmaking is always a guessing game, and part of it is always a game of trust.

If you're working on a movie, you want it to be projected on the largest tapestry possible, and the sound to be perfect, and for that kind of communal experience of the movies to take place for it.

I do give a great deal of forethought and zone in on character and all sorts of things like that. Never before have I just stuffed something away in the back cupboard of my brain because it was just such a crazy concept.

There's times when I'll see a show, or something cooking on TV, and think, 'That can really be fun when it's working.' But it's a grind. I did that at NBC, it was five days a week. I was doing 'Talk Soup' and 'Later' at the same time. It's a hard job, more difficult than people realize.

I was 12 when my parents told me we were moving to Lebanon. I remember thinking, 'Leba-who?' I had absolutely no concept of the place.

My grandfather had two boys, my uncle had three boys, my dad had me and my two brothers, each of my brothers have had two boys. Then something happened with the chromosomal experiment and suddenly I've got three girls.

I was a halfback on an American football team in Athens, Greece - the Kississia Colts - where I went to high school, and we took the Cup my senior year. The downside, and somewhat unfortunate piece of information I have to pass on, is there were only two teams in the league because of the limited amount of Americans.

Audiences don't ever disappoint me, in the sense that movies I feel really good about, they usually feel really good about too.

'Little Miss Sunshine' snowballed. It was a tiny movie. We shot it in 30 days, and it was really fun to do, but it was one of those small movies that you don't hold out huge hope for.

If you're working on a movie, you want it to be projected on the largest tapestry possible, and the sound to be perfect, and for that kind of communal experience of the movies to take place for it.

My family moved - first to Washington, D.C., and then, in the spring of 1975, to Lebanon, where my father worked as a diplomat at the American embassy. My parents were enthusiastic about the move, so my older brother and I felt like we were off to some place kind of cool.

Here's the thing about movies, all movies end up on television. That's their life. Whether you like it or not, I don't care how much money you spend on it, or how big or broad the film is, or who the actors are in it, eventually it's all coming out of the box.

Part of filmmaking is always a guessing game, and part of it is always a game of trust.