I don't know if I could [do a TV show]. I would if it had nothing to do with the comic. It would be really weird and maybe not feature any of The Umbrella Academy characters.
I've always slightly harboured a dream of making a film, a documentary feature. Somehow I just got into a way of working a routine of making TV docs. It's not as though you do that enough and then graduate - you sort of need to make a conscious decision to work in a different way.
We [with Neal Dodson and Corey Moosa] were constantly looking for features and looking for ways to get involved with people who were making stuff.
It just so happened that J.C.[Chandor] was a first-time feature director, and his script was exactly the kind of thing we were looking for.
J.C. [Chandor] was the kind of energy we were looking for, so we decided to get behind it with all of our effort. That was the beginning of our relationship with first-time feature directors, and that's when it became really important to us, watching them thrive and grow in a creative environment in which you can do that was really key. Also his work checked all the boxes, because it was socially relevant and intellectually driven, and creatively exciting.
I was a feature one time and they gave me host money. When I called to complain the guy goes "no you didn't feature, you co-hosted". He literally invented a term so he didn't have to pay me. And obviously that check bounced!
What I see in a lot of music movies, or rock 'n' roll movies, that feature a band is that they're lip-synching.
Even if you close your eyes, you'll still hear Donald Trump sniffing. Linguists might call [these visuals] paralinguistics, every form of information including facial gestures and facial features. Obviously these things get scrutinized in tremendous detail, so that a cough can be of outsized importance. [But] that's all part of the package.
I always felt completely confident - it's like in a feature film, knowing your principle character is extremely well-cast. I had that same confidence in Clive [Oppenheimer].
[Jack Reacher] is the longest I'd ever shot anything - and let's be clear, this is my first studio feature film - so there was a huge learning curve.
The sorts of sectors which feature so largely in the [Donald] Trump program, and its rhetoric, account now for perhaps only about 15 percent of the American work force.
The missile defense component is a minor feature that nobody takes very seriously. Nobody really believes that the US is trying to protect itself from North Korea. That's not serious. But the militarization of space is quite serious.
I had grown up as a feature writer, and basically my career had been in The National Lampoon and as a magazine editor, and I'd never been a reporter.
[This kind of strange mythology about me.] I've pulled a huge steamboat over a mountain; I've done a feature film with all the actors acting under hypnosis - things that are very unusual.
By the way, today with digital cameras and editing on your laptop, and things like that, you can make a feature film, a narrative feature film easily for $10,000.
Robert Rodriguez, makes a feature film in 35mm celluloid one and a half hours long, and nobody believed him, I think he wrote a book about it and gave all the details of how he spent the money, even making a 35mm celluloid feature film was possible, at least for Rodriguez.
[My maternal grandmother ] was a teacher in London and elsewhere during the war, although the children she taught were not the "lost children" who feature in the novel - those come from my research.
I think a story is an attention grabber. I think it's a truth conveyor. Those are two great features of a good story.
I've toyed with this idea [of Fresh Hell] for a long time. I actually wrote a feature years ago with this sort of concept in mind, and it's gone through several incarnations, and... It wasn't 'til I met Chris Ellis, who directed me in a little thing that was actually for a ride in Universal Singapore, for those of you who happen to be going to Universal Singapore.
Evolution may explain some features of the moral law, but it can't explain why it should have any real significance.
'American Dream' is a small little movie made for under a million dollars. Totally independent feature.
I think it was around the time of doing those shorts. [Producer] Christine Vachon, I had a meeting with her, and she mentioned the short, this AOL short, and asked if I wanted to do one. And then the next step was the "30 for 30," and again that boosted my confidence enough to decide I'm going to do a feature narrative. And I was supported by my agency, and [producer] Jane Rosenthal has been an exceptional friend, and she produced "All We Had," she encouraged me to do the "30 for 30."
Suri is my daughter, she's very, very special to me, and this project took a lot of time and because it's my first feature I wanted her to know that she's so special to me. I thought that as she gets old that will mean more to her, that she's always the most important, and I wanted to give her a special thanks because she means everything to me.
One of the features of the Commonwealth Heads of Government Meetings was [that] she [ Elizabeth II] would have a meeting with each of them. You'd have an allotted time.
In terms of what happened to Amy [Schumer], if that happened to me I would be like, "Yes, please leave." But I toured a lot. I started as an opening feature act touring a lot during the [George W.] Bush years, like around 2007. I was touring during the [Barack] Obama election - the first one with [Sarah] Palin and [John] McCain - and I talked to crowds about that and they were always split down the middle.
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