Quotes About Film

You don't get time to rehearse in film and TV at all.

We've turned film into such an industry that we pursue naturalism just by shaking the camera and cutting the film to ribbons to provoke a bogus sense of documentary. But we haven't done the homework. To push the depth that the Actor's Studio did or the Russian theatres did with their actors is to rehearse, to spend time, to dig, to excavate.

All the film stuff is business. Those are the songs I practise for, rehearse for, make money from.

What's more awkward than doing a shower scene? Rehearsing a shower scene.

You don't get to rehearse much on TV. You are kind of rehearsing on film. Depending on the way you work, that's either a good thing or a bad thing.

I was always cutting dialogue out when we were rehearsing, and when I produced movies, too. I felt that people don't say things in life - they act, they do things. I always wanted my characters doing, rather than saying what they were doing - which was redundant.

I think it's the director's prerogative, not the studio's, to go back and reinvent a movie.

In film, you can't go into analytical explorations because the audience will reject that.

I never went to film school, so I never had the chance to be rejected.

I did a fantastic emotional film, 'Autograph.' But the audiences rejected me in it. They like to see me laughing and fighting.

You can be accepted in a film which is amazing, and the same person can be rejected in another film whose content does not resonate with people.

I had several offers to act in films. But I rejected all of them and decided to plunge into politics.

That's so rare in the world of TV or film to have a genuine friendship turn into something that people watch, that people relate to. That's so unique.

With independent film, simply because they don't have the money to make a big-budget film, they're forced to make a story that's important to them, that they would like to see on film, a personal story that people can relate to, about people, where you can see the love of the characters.

When a family film is done well, there's a character that every member of the audience can relate to. I want to be one of those guys.

There's the argument that you can relate to someone who's completely unrelatable. In the way that a director shows you his imagination on a film, then I get to show you my imagination in a big dumb character.

You have to be involved and relate to the characters in order to make a film that is true emotionally.

The screenplay has to be gripping. That's when the film will work. Then, I see how much I can relate to the character I'm playing.

Through the years, I have been overwhelmed by the number of people who have shared how much they relate to my 'Sordid Lives' family, and how many gay men and women used it to come out to their conservative families through the humor of the film.

I loved photography and everybody said it was a crazy thing to do because in those days nobody made it into the film business. I mean, unless you were related to somebody there was no way in.

It's interesting because, even with 'Beetlejuice,' I was an awkward kid. I started at puberty and went through it on film. Lydia was one of my favorite roles because I related to her a lot.

I think the success of a film is very important to an actor. It depends on how many people go to watch your movies; the more the merrier. Nobody wants to do a film for five people. You work so hard that millions of people watch the movie; this is directly related to box office success.

With 'Women in Hollywood,' I didn't direct it, but I produced it, and what we did is followed the money of Hollywood and how that intersects with issues relating to women and, frankly, sexism.

Well, regarding actors, my idol is Catherine Deneuve, but not in relation to my work, I'm just a fan. As far as genres, I've been reading a lot of science fiction, and I would love to make a fantastic film.