Quotes About Film

The actors are the greatest executors of tone in a film. They're the most important cinematic component.

In the case of 'The Lovely Bones,' I felt that it was subject matter not often dealt with in film, and with a tone that is also rare.

I'm not dark; I'm not. The main thing I consider in accepting a role is less the tone of the movie and more whether I think it's a good film, whether I like the character and whether I think I could do it. I don't think, 'Oh, I've done X amount of dark films.'

It's hard being a Broadway actor going into film where you have to tone everything down. In theater, everything you're taught is to be big and broad and make everyone feel like they are right next to you, even in the last row of seats.

The emphasis in 'Notting Hill' was perhaps, I thought, slightly more on the romance than on the comedy. But I think 'Mickey Blue Eyes' is maybe slightly more on the comedy. And the tone on 'Mickey Blue Eyes,' it's a far sillier film.

To make three films out of one shortish book, they have to turn it into an epic, just as 'Lord of the Rings' is an epic. But 'The Hobbit' isn't an epic: its tone is intimate and personal, and although it's full of adventures and excitement, they're on a different scale to those of the bigger book.

A lot of TV and film commits to one tone.

In musical theater you have to be very big and very animated, while film and television are more toned down.

I have to say, when I watched 'Rogue One,' I got a little verklempt. I was like, 'Look at this motley crew of people, and the lead is a female, and the rest of the dudes are all kinds ethnicities and skin tones.'

'Blood Feast' is my favorite of Lewis' films. When we shot 'Serial Mom,' and I showed them the infamous tongue scene, one of the female crew members said, 'I hate when a guy does that.'

Having portrayed English-speaking Indian characters in British and American projects, I have always wanted to use my mother tongue in an Indian film.

There's video footage of my 10th birthday where I'm wearing, like, a little pink T-shirt. Then my dad comes in brandishing a copy of 'Eraserhead,' going, 'Look what we've got for tonight!'

I would say that all of my experience on any set over the course of my life has helped me in directing 'Save Me Tonight.'

In the end of the day, you are human. Film is a job which is not an individual job; you have tons and tons of people behind you - you have a whole crew of people working. But, an actor is the face of a film, so you get all of the good things, but you get the bad things, also.

I think anything Tony Kaye would've done would've been interesting, definitely. And worth seeing.

I thoroughly enjoyed working on Enemy of the State. Tony Scott is an important director, and has an amazing ability to express himself, and he doesn't do it in musical terms, he does it in emotional terms. I got along really well with him.

When I made 'Hard Boiled,' I had no idea that it would be released to an international audience. I just wanted to make a film to team up my two favorite actors, Tony Leung and Chow Yun-Fat.

I have a Tony Award now. It hasn't changed too much in the theater world, but it gives me entree for film stuff and TV stuff, where people will see me more easily now because they know me.

With 'Iron Man,' I have to give Jon Favreau great credit for the score because he always said, from the beginning, 'Tony Stark is a rock n' roll guy.'

I did B-list films because I couldn't find A-list ones. And then when I approached A-list directors with the experience I had gained, I was told that it was too late because I had done B-list films.

Sometimes you don't want to get married too much to a lot of rehearsing, I feel, when it comes to film, because there's so many technicalities. So if I'm in my head, I've gotten settled on something, I'm gonna have to change it if I get there and something was set that's completely different.

In film, there's this kind of constant fear that you're going to be doing too much. That may be an unfounded fear because I love sizable performances on film, especially when they're by performers who push the boundaries of what people deem the right kind of size.

You can't really do a big character in an action film; you're already suspending your disbelief in the action, then to suspend your disbelief in the character is too much.

For an actor who hadn't done too much work, who's aspiring to be big, when you get to know you're in a film which has eight other massive names alongside you, you tend to get nervous. It starts to become a more daunting experience than an enjoyable one.