Quotes About Film

I wrote and finished the script for 'Man in the Middle' two weeks after the September 11 bombing. It's a very American film about an ex-diplomat based in the Middle East, a leader in the U.S. administration who now sells used cars in the Middle East.

What I did was I completed the half-hour film, but before really showing it, I wrote two more sections for a potential feature film which I didn't think would really happen, but at least I had it in case.

Big Night and The Impostors are both things that I wrote.

No, I just thought of a story and wrote down what I saw. It was about two kids in Ireland who went around killing people. It was called Travelers, and it was made as an independent film.

My very, very first professional job was when I was 19 years old - I got a job doing an educational industrial film on Shell Motor Oil's oil products. I really put my heart into it - I wrote a script for it, I did a lot of research.

A government institution called the Finnish Film Foundation funds filmmaking there, and I wrote several screenplays but never got any money. They were sent back to me, and they said that they were too commercial for them.

I've had three novels published, and I was working a little bit in theater in Ireland. I wrote one film script just to see what it would turn out like.

My Brilliant Career was beautifully directed, but I had a bit of trouble with myself in it. It was a silly script, based on a book this 16-year-old girl wrote.

WWE was far more tougher than working for a film where you could take a shot and go and rest in the trailer, but for WWE, one had to exercise, eat well, fight, and even deal with injuries.

I think that being able to do a WWE studios film gives you confidence to say that I was able to go out there and accomplish something.

There's an army story in me, and I think there's a WWII Brooks film somewhere.

I did a film called 'Fort McCoy,' based on a true story of one of the few internment camps during WWII that was actually in the United States.

In 1969, at the age of 19, I was lucky enough to work with George C. Scott in the definitive portrayal of his career over a period of many months and several countries on the definitive film version of Patton's WWII career.

I met Jim Jarmusch when I started recording my album 'Ya Nass.' He was writing the script for 'Only Lovers Left Alive.' Jarmusch was always a great inspiration to me, way before meeting him. Working with him was fantastic.

I'm not necessarily a huge fan of YA movies. I haven't watched a lot of them.

My decision is that 'Mr. Ya Miss' will be my last film with Factory. I don't want to spend more time with something which I don't want to do.

One day, I got a call from Aditya Chopra and he said, 'Ma'am, I am Aditya Chopra speaking, Yash Chopra ji's son. I am making a film and I have a role for you.' I was so simple at that time, I told him, 'Ya fine, I am shooting at Noor Mahal bungalow, you come and meet me there.'

If you look at professional baseball in New York, you can get all 162 Yankee games on television anytime you want. But people still go to the ballpark because they are two different experiences. It's the same with film.

'Stomp the Yard' was a great film. It was a great film, great opportunity. It's the reason I live in Atlanta to this day, that film. But as far as acting goes, it wasn't very challenging. I played me.

My initial attraction to 'Red Tails' was the opportunity to play a character that was not me. 'Stomp the Yard' was a great film, but I played myself there.

When I make a film, the yardstick is my mind. If I laugh at the jokes and feel sad at the serious undersides, then the subject works.

For me, it's about the impact that the role has in the film overall. Less or more screen time, whether I get to romance the hero, is not the yardstick I go by. If my part is strong enough, then why not?

I want to feel happy doing a good film and don't want to look at cinema with a materialistic yardstick.

Yeah, I was always a big fan of noir.