84 quotes found
"It's fascinating to watch a show develop from a script to a 22-minute comedy. I try to learn as much, and ask as many questions, as I can without being annoying."
"Actors didn't use to be celebrities. A hundred years ago, they put the theaters next to the brothels. Actors were poor. Celebrities used to be kings and queens. Then the United States abolished monarchy, and now there's this coming together of show business and celebrity. I don't think it's healthy. I don't want to sound self-important, but all these celebrity shows and magazines—it comes from us, from Hollywood, from our country. We're the ones creating it. And I think it works in close step with a lot of other bad things that are happening in the world. It promotes greed, it promotes being selfish and it promotes this ladder, where you're a better person if you have more money. It's not at all about the work itself. Don't get me wrong. I love movies. But this myth of celebrity has nothing to do with movies."
"Most scripts are bad. I read a lot of them. Brick was a good script just to read. It was like, “Oh my God, these words feel so good in my mouth.” A lot of movies try to set up a world with cool sets, costumes, camera work. In Brick, the world is born from the words."
"To me, a sex scene in a movie generally means a gratuitous scene that doesn't serve the story but gives a kind of excuse—we've got these two actors, we want to see them naked, so let's bring in the music and the soft light. In Mysterious Skin, none of the sex scenes are like that. They all are about the process that this character is going through—and he grows from each of those scenes. You couldn't have told the story any other way. There's nothing to be embarrassed about. I would be embarrassed if I was like, "Shit, everybody wants to look at my ass.""
"Traditionally there's this barrier between the people who make movies and the people who watch them, and I think it sucks. Making Hollywood this castle on a hill and crowning actors the "Stars" might have been exciting and even brought people together last century, but now it's grown kind of disgusting in its excesses and it's no longer bringing people together—it's keeping people apart. It always turns my stomach a little when, because I'm in movies and on TV, people sometimes treat me as if I'm somehow different from, even above, a normal person. But the emails, posts, and comments I've been trading recently with people through those aforementioned sites cause me no nausea; they inspire me. There's no nasty status predicated on "Fame" or "Fortune." There's just that beautiful thing, the point of all art in the first place: a connection between one individual and another."
"Supermarket tabloids and celebrity gossip shows are not just innocently shallow entertainment, but a fundamental part of a much larger movement that involves apathy, greed and hierarchy. Celebrity doesn’t have anything to do with art or craft. It’s about being rich and thinking that you’re better than everybody else."
"My dad never blew anything up, but he probably had friends who did. He and my mom have always preached that the pen is mightier than a Molotov cocktail."
"I didn’t really like doing commercials. You had to behave like you were on angel dust or something."
"There's this barrier that goes up between the people who make the movies and the people who watch the movies. But the point of art is to have a connection between people. I think it's going to become much more of a dialogue, where everybody will watch everybody's stuff, as opposed to how it is now, where the huge corporations produce everything. I'm looking forward to seeing that."
"[hitrecord.org is my] alternative outlet of where I get to be a little less professional and just freak out a little bit."
"The Lookout was by far the hardest thing I've ever done. Partially because both Brick and Mysterious Skin were four to five week shoots, and The Lookout was nine or 10. So there's the marathon aspect, as well as the fact that Chris Pratt is having a harder go of it than either of the other two characters ever did. You know, waking up in the morning is difficult for him. Putting a sentence together is difficult for him. Getting dressed properly, driving a car, all these things. He can do them fine, but it's just much harder than it is for a normal person, so I had to try to make it hard for myself somehow. So it was challenging."
"I think the whole thing's changing a lot. The traditions of Hollywood are grand and great and are going to survive forever, in a way. But they're not going to be the only way for much longer. The technology is such now that you don't have to have millions of dollars to make a movie. You can make one with a computer. Like the Ze Frank show. I don't know if you know who that guy is, but at ZeFrank.com, he makes a couple-minute show every day. What he does is fucking great, and he does it all by himself. I think those lines between "behind the camera" and "in front of the camera," the lines between actor, writer, director, the lines between audience and performer… all those lines are kind of dissolving. And I'm real curious where it's going to lead."
"[It's a] really smart, faithful adaptation of the book. The book is such a tight page-turner… The character I play is an extreme guy… He's a killer. He wants to be Jesse James. He grew up watching cowboy and Indian movies and wants to be that. Then he meets Mickey Rourke's character, who's named The Black Bird and he wants to partner up with him and be a criminal and kill people. He's a psychotic and very bad guy… The thing about him is, he's not the bad killer, the kind of guy that sits and stews and then has these rageful outbursts. He is this extreme extrovert who never shuts up and tells you ridiculously tall tales about himself and mythologizes everything… Hyperactive, hyper, hyper guy wearing cowboy boots."
"I don't blame the people for the fact that so many movies are bad. I think there's a corrupt, perverted, lazy and sloppy attitude that's pervasive in the movie business. The whole entertainment business is kind of crumbling around us."
"The cool thing about my character was that it’s not that digital. I get to put hours of prosthetic makeup on and see a different creature altogether. I’ve seen how he looks and it’s really cool."
"Sundance means a lot to me. This is my third one. People that come here who love movies. Everyone has the attitude that movies aren't just disposable entertainment - they can really mean something. I love that, because that's the way I feel about films."
"I guess I have an eclectic taste [about (500) Days of Summer, G.I. Joe, and Uncertainty all in one year], I don't just like one thing. Contrast is key. What do they say? Variety is the spice of life. My favorite actors are the chameleons, guys like Daniel Day-Lewis, Billy Bob Thornton, Meryl Streep, people who are always different."
"The most valiant thing you can do as an artist is inspire someone else to be creative."
"I just want to say thank you again to all you crazy motherfuckers who came out for hitRECord on Halloween - give me your records! I want to see your videos, I want to see your photos, and even more importantly, I love this stuff, remix it!"
"Wrote an adaptation for the Brothers Grimm's Little Red Riding Hood for 2011-10-31."
"Actually I've thanked you a lot of times so now I'm thanking you again."
"[Looper's] sort of a down-to-earth Blade Runner: it feels real. It's that style of sci-fi that could actually exist in 30 years."
"I suppose the longer anyone spends on earth, the closer we all get to becoming superfluous characters."
"The cinematographer came up to me and said, 'You have to hit your mark exactly,'"
"On ‘Shrek’ we didn't try to figure out how to make adolescents laugh. You have to use yourself as the best judge and use your own instincts. We figured if we laughed at it, chances are good someone else would too."
"I came into DreamWorks looking to direct. I was hoping to go through story as a way toward directing, because that’s how it worked at Disney, story people became heads of story, and heads of story became directors. And they said, ‘Right now we don’t have a lot of story, but we have visual development,’ and I said, ‘Good, I paint!’"
"For a long time, the movie [Shrek] didn’t know what it wanted to be. One problem was unavoidable: Chris Farley had died, and the story had been geared around him, so when he went, the story kind of went with him. It went through an upheaval while they tried to find the right tone for it. I think they were really close to shelving the project when a few of us came into story to try and find a tone that we could work with. When Kelly Asbury moved on to Spirit: Stallion of the Cimarron I became head of story, along with Randy Cartwright. Along with Andrew Adamson, who stayed on as director, we started pulling little pieces together out of what remained, and part of the way through, Jeffrey [Katzenberg] decided that I should be directing. A few months later, we started production."
"Here we are, sitting in tuxedos and evening gowns, wearing borrowed jewels, and everyone's watching Shrek take a poot in the water."
"Directing films obviously there’s a ton more responsibility rather than just coming in and directing the action on the film because you’re responsible for every little nuance in the film from fingernail polish to jewelry to wardrobe to hair and you’re dealing with actors, you’re dealing with studio critics, and studios. You’re responsible for budget, more responsibility on all fronts, but it’s a great art form!"
"I have a dog who looks a lot like a pig and I would look at him and think: “You know? I can not eat pig anymore.” And besides, is my dog really all that different from a pig on a factory farm? They both have their own lives and big personalities and most importantly the same capacity to feel pain. Once I made the connection, animal suffering became something I could not ignore. So if you have ever loved a cat or a dog, or even a human, I hope you will extend your compassion to include all animals. I am Mike White and I am a vegan."
"Looking back, I can see how there are challenges for any working parent. My mom was a stay-at-home mom and that was really challenging too. I think it’s hard to be a parent and it’s complicated and there are a lot of difficult decisions that you make for your child and for yourself and for your family. Only now as an adult can I appreciate how courageous it was for my parents to move because they didn’t know anybody there [in Connecticut], and also for my dad’s career it must have been hard being away from LA. But we were always on movie sets. We were never apart. I was sheltered from the industry lifestyle but not from the experience of the set."
"I’ve never, ever, in my entire life, been upset at a casting choice. I started taping my dad’s auditions when I was 11, when he was auditioning actors for one of his movies. I would see, over and over again, that there wasn’t just one actor for the role. It was really clear that there were a lot of people who could play a character really well, and it would always come down to something kind of weird and non-obvious as to why a person was cast. If you’re not right, you’re not right, but that’s okay."
"I think everyone has what it takes to be a good actor innately within them. It’s really about connecting to your own humanity and your own behaviors, and getting to a level of self-awareness so that you can have perspective and step outside of yourself and transform and become another person. You can’t become another person if you’re not self-aware; you wouldn’t know what’s changed. [But] the ability to play pretend is something that everyone has access to; you see little kids doing it. On the spectrum of imagination, there are people who are more imaginative than others—I guess some kids are hardcore pretenders and have imaginary friends for years and other kids play and they have fun, but it’s not quite as specific like that. I’m sure there’s a range, but I think everyone can pretend."
"There was such a dearth of films like that…And the high-school teen movie is a genre that I love. Everything at that age is so heightened and dramatic, and high-school movies capture that so perfectly. But those films are all white, too; there’s no black teen movie genre that exists in the same way."
"“I was trying to stand out, trying to be the class clown and be super-funny. But everybody thought I was lame and hated me…I’ve experienced that real sense of feeling out of place plenty in my life."
"…I found the world of nonprofits funny to begin with just because having worked there, you see that people are so altruistic and they're so benevolent and they're pretty selfless and you're working generally for a great cause.But the atmosphere within the work environment can be oddly competitive. People want the credit. Sometimes they don't listen to the people they're trying to help. And for me, this white guilt is so prevalent at this nonprofit. And they're so - they treat the kids as this pity party. And for me, I would hate to work in an environment like this, but it's ripe for comedy."
"“My parents helped me and they hurt me…My mom was extremely pro-Black, and I believed her. My dad is Senegalese, and I grew up around my dark-skinned cousins and just thought that they were the most beautiful women in the world. I was surrounded by beautiful dark people. And then middle school hit, and I was like, Oh, they think I’m ugly. They think I’m big. They think I’m unattractive. I went back to my mom like, ‘What the f—k?! Y’all lied to me my whole life. What is this?!’ I started realizing, Mom, you’re light-skinned. So I don’t know what you were talking about. It’s not like you can relate to being dark. And your hair is not the same texture as mine. So what do you know about telling me I’m beautiful? Why would you lie to me? That definitely had an impact on how I saw myself."
"In the days following the presidential election (of 2000), there were so many stories of African Americans erased from voter rolls you might think they were targeted by some kind of racial computer program. They were. I have a copy of it: two silvery CD-ROM disks right out of the office computers of Florida Secretary of State Katherine Harris. Once decoded and flowed into a database, they make for interesting, if chilling, reading. They tell us how our president (George W. Bush) was elected – and it wasn’t by the voters."
"Secretary of State Harris declared George W. Bush winner of Florida, and thereby president, by a plurality of 537 votes over Al Gore... Over 50,000 voters wrongly targeted by the purge, mostly Blacks. My BBC researchers reported that Gore lost at least 22,000 votes as a result of this smart little black-box operation. The first reports of this extraordinary discovery ran, as you’d expect, on page one of the country’s leading paper. Unfortunately, it was in the wrong country: Britain. In the USA, it ran on page zero – the story was simply not covered in American newspapers. The theft of the presidential race in Florida also grabbed big television coverage. But again, it was the wrong continent: on BBC Television, broadcasting from London worldwide – everywhere, that is, but the USA. Was this some off-the-wall story that the British press misreported? Hardly. The chief lawyer for the U.S. Civil Rights Commission called it the first hard evidence of a systematic attempt to disenfranchise Florida’s Black voters. So why was this story investigated, reported and broadcast only in Europe, for God’s sake?"
"Who owns America? How much did it cost? Was the transaction cash, check or credit card? Was it a donation to my son who’s running for president? Or a consulting contract to my wife’s former law partner to comfort him on his way to the federal penitentiary? And what do you give a billionaire who has everything? Immunity from prosecution? Then there’s the practical difficulty of gift wrapping the U.S. Congress. George W. Bush may have lost at the ballot box but he won where it counts, at the piggy bank. The Fortunate Son rode right into the White House on a snorting porker stuffed with nearly half a billion dollars: My calculation of the suffocating plurality of cash from Corporate America (“hard” money, “soft” money, “parallel” spending and other forms of easy squeezy) that smothered Al Gore runs to $447 million. They called it an election but it looked more like an auction."
"That was May 2001, days before President Bush issued his proposals to end the energy crisis in California. The Golden State was suffering rolling blackouts. The state’s monthly electricity bill shot up by 1,000 percent. But as soon as I got a whiff of the president’s proposals, I knew his plan had nothing to do with helping out the Gore-voting surfers on the Left Coast. Bush put Vice President Dick Cheney in charge of the committee to save California consumers. Recommendation number one: Build some nuclear plants. Not much of an offer to earthquake-prone California, but a darn good deal for the biggest builder of nuclear plants based in Texas, the Brown and Root subsidiary of Halliburton Corporation. Recent CEO of Halliburton: Dick the Veep."
"On 28 January China said it would welcome international help as it struggled to contain coronavirus. No substantial help has come. Instead of solidarity and defying WHO, the US, Australia, Britain seek to isolate China, returning it to a state of siege and the dangers of the past. (Twitter post 5 Feb 2020)"
"The nasty secret of American democracy is that we don't count all the votes and we do not let all people vote. In the past two years, according to the federal government, 17 million Americans have been stripped of their right to vote. Some of it is quite legitimate... But about half of that number, 9 million or so people, were removed from the voter rolls on a false premise. These potential voters are overwhelmingly young people and voters of color. Young people are the new target. There is a massive purge of voters in America and few people are talking about it."
"It isn't done by some guy pressing a lever and changing the vote from blue to red. Rigging an election is usually done by blocking people from casting ballots or not counting the ballots they cast."
"It’s enough to make one cynical. American elections are manipulated, British parliamentarians are bribed, scientific research is financed by companies who are interested parties, energy crises are rigged, and a score of other varieties of modern-day sleaze... The Best Democracy Money Can Buy, (2002) is composed of dozens of essays – many of which are actually summaries of Palast’s investigative journalism escapades – on the myriad ways those of power and wealth have stolen and/or perverted cherished ideas and institutions of the United States and the United Kingdom."
"Palast, an American who writes for The Guardian and The Observer of London, has the uncanny knack of turning up at the wrong place at the right time. His showcase essay has to do with the 2000 US presidential election in Florida, and how Governor Jeb Bush and his team shamelessly contrived the removal of thousands of voters’ names from the election rolls; voters who were in large measure black (read Democratic voters). The result was nothing less than the placing in the White House of Jeb’s brother George. This is by now a well-known story, thanks to Palast, who adds a lot of details to it in the book."
"I was incredibly privileged"
"I’ve always felt very in touch with my masculine side"
"I’m proud of where I come from. Now it’s nice to be in a place where I feel like when people ask me about my parents, I’m not like, ‘Let’s not talk about that.’ I’m like, ‘They’re awesome. I’m grateful to be their child. And I’m also my own human being"
"my instinct is always to say [to myself], ‘It’s not mine"
"The fact that people don’t think what they say affects a celebrity because [they’re] not a person to them is crazy"
"Being uncomfortable with the human body is colonization/brainwashing"
"I’m a human being. I want to fucking defend myself"
"The fact that I was like, ‘Should I not have worn that?’…. No, I do what I want to do, and I make what I want to make, and if I start being afraid of what other people are going to say or think, I’m no longer doing my job as an artist. I’m not experiencing the world and putting that into art. I’m walking on eggshells. Fuck that. So, I needed to take a minute"
"The point of being alive is to experience life and play with it"
"Sometimes we can’t show up, and that’s okay as long as we know how to communicate that we love those people."
"Everyone learns differently. Everyone hears things differently. Everyone has different strengths and weaknesses and insecurities, and you have to learn how to support them and what they need to hear. Some actors really need to hear ‘Good job’ after a take. Some actors don’t care. It’s really understanding that"
"My feelings don’t get hurt if the idea doesn’t come across or the idea doesn’t work"
"There’s a difference between being cocky and knowing to trust that you know what you’re doing"
"Creativity is like this invisible thread that you find, and then knowing I’ve got the thread, I’ve just got to keep following it. It’s going to show up, and that confidence is where the good shit is"
"all the scripts that were being sent were about the first Black woman to make a muffin or something. Even though those stories are important to tell, I also want to open things up for myself as an artist"
"There have definitely been moments in my life where I’ve felt like I needed to soften my edges in some way"
"If the story is exciting, it can get me on board even if I’m offered a small part, because I want to contribute to stories that I feel are important to tell"
"I like playing women I identify with"
"And I don’t really know how or why I’d play the hero’s girlfriend, someone with no point of view. I wouldn’t know what to do with the part. There’s no humanity in that kind of character"
"It’s amazing to see the extent to which we’re influenced by our appearance"
"Every time someone, but I’m thinking specifically of women, tries something they’re not sure they can do, they’re taking a risk that requires courage"
"Where women are concerned, there’s a lot of pressure to do everything perfectly, all the time. So when we go out of our comfort zone, it’s no small thing."
"In the end, it’s all about self confidence. When you have it, there’s no need to overdo anything – you just have to choose the right colours, the right cuts and the right fabrics"
"I sincerely believe beauty is to be found inside us"
"We’ve seen stories so many times that when something is actually surprising, it’s the best gift I think you can get"
"I also really wanted to honor that generation of women that really were made to feel like, "This is how it is. Deal with it.""
"I do believe that it's something women have the power to do, but I do think we have yet been given the opportunity within society to actually exercise it on a massive scale. That is the reason why it’s open-ended. And I appreciate what you're saying about wanting to know and saying, "Okay, what does she do with this power?" But I wanted to really leave that question open. Is she ending a cycle or is she continuing a cycle? Is it the idea of the oppressed becoming the oppressor, or does everything change now because the woman is in charge and power is this entity?"
"in order for someone to be on the top, someone has to be on the bottom. It's oppressive by nature"
"I think I'm lucky having parents that have been in show business for a while and they don't care about the shiny stuff so much. They raised me in that way– to stay grounded, not to chase the shiny pretty things."
"I see the human in everyone and everything"
"My parents didn’t become who they are because anything was handed to them, and they didn’t raise a child who expected something to be handed to her, either"
"You can tell when someone is driven by labels. If something is couture they think it’s important and wear it and sometimes make a terrible fashion mistake. People are shocked that I know so little about designers. I know the big ones because my grandmother wore them or they’ve been around forever. I know you because you’re my best friend, but I don’t know much about the fashion world except for when I like something, I like it."
"I needed someone to say, “You’re a woman now. Dress like a woman"
"Why aren’t women starring in more films? It’s because the men are writing them and are the ones cutting the checks. We can’t blame them, I personally don’t think. We need to take that extra step"
"Typically white people have the story, and any kind of minority is like adding that pop of red or fun purse or pair of shoes to jazz up an outfit. These people are accents that make things funny, weird, or dramatic"
"Humor trumps everything and is probably number one. I think it trumps being politically correct"
"I think being kind is actually harder than people like to admit"
"I’m another human being, floating around out there in the universe and figuring it out, too. If seeing that brings you comfort, or gives you hope, or makes you feel anything— makes you feel not alone — if that is being a role model, then I’m happy to do that."