Quotes About Movie

I never dreamed that I would hear 10,000 people screaming when I stepped out onto a stage. Well, that's not entirely true. I dreamed about it but in a performing-on-the-stage-at-Staples-Center-or-Madison-Square-Garden context. But never in a I'm-in-a-movie-that-hasn't-even-come-out-yet one.

I stepped in for Nicole Kidman in 'Dogville' when she left that film.

I was planning to make 'Hate Story 2,' but I stepped out of that project. I don't want to repeat the genre.

You can be taking two steps forward as an actor, but if a movie doesn't make money, you might as well be taking two steps backwards. It's all about economics.

I'm not feeding my kid off movie roles so it's easy for me to say 'no' to things but it's important for me to have this presence and I know it's easy to stereotype and pigeonhole certain people that come from a certain genre but I can do more than a lot of people expect.

The biggest anachronism, usually, in a historical movie is, again, the author doesn't want to be thought to in any way share the social conventions or whatever of the time, so there's always this auctorial alter ego. So you have a movie set in the 1830s where you'll have a female character who has the attitudes of a twenty-first-century screenwriter. And that to me is a true anachronism.

But to this day I am convinced that the real reason we met was because Alexander is from Nebraska, and he was completely fascinated that I was about to go off and make a movie with Brando - perhaps the most famous Nebraskan of all.

But you have to suspend disbelief if you ever want to enjoy another movie or watch the president for more than fifteen seconds without running into the street demanding a new constitutional convention.

In the 1965 James Bond movie Thunderball, the skydiving frogmen are supposed to be jumping into the Bahamas, but downtown Miami is in the background.

Well, there's no question that a good script is an absolutely essential, maybe the essential thing for a movie.

I'm proud of 'Miracle at St. Anna' and I loved it; there's no question in my mind it's as good as any movie that came out in 2007.

I've taken classes most of my life, and it's no secret among my friends I want to be in a movie about dance. Maybe 'Step Up 2,' with the delightful Channing Tatum.

I honestly love any good chick flick, as long as it's a good movie or pretty funny. 'Love Actually' is a no-brainer.

Sure, immigrants will do work that no-one else will do. There was even a movie about it - 'A Day Without Mexicans.'

I fall asleep to a movie every night! I don't have a go-to movie, but I like Netflix or whatever I can find. Usually, it's just noise in the background; I think it's damage from living in New York, where it's so noisy.

'Groundhog Day' was one of the greatest scripts ever written. It didn't even get nominated for an Academy Award.

It was a lot of fun on the set. I had the most fun making that movie out of all of them. I'm sure if I sat and thought about it, but none that I could think of offhand.

I think in some ways I'm quite lucky to be living in London, there's this certain separation from the movie business. In that way, it's been quite easy to separate acting and going back to a normal life.

Zhang is a friend of mine: he said forget about acting and just do normal things in the movie.

Normally, when you do a movie, you have those mundane days when it's like, 'Today is the scene where I get coffee.'

To me, there was something moving about the idea of telling the story of a lady who is, in a way, a forgotten character - someone who would normally be a secondary role in a movie.

They started saying stuff like 'Should we cut the movie? Is it too this, too that?' It got drastic. It got heated. I said, 'Wait a minute, folks. I didn't make 'Smokey' for big-city audiences. I made it for the South, the Midwest and Northwest. Those are my people.'

When I first heard 'Robocop' was going to be remade. I said, 'Yeah, that's interesting. I'll probably watch that at some point, but I'm not interested at all to be in it.'

The greatest way for people to experience a comedy is to go in not knowing anything about it. But because of marketing, it's impossible. Marketing meaning that in order to get people to come you can't just go, 'Hey, there's a great movie - we're not going to show you anything from it but trust us!'