I can direct breakfast, lunch, and dinner. I take pride in my kitchen, but I'm not going to direct a movie.
The movie says, You can lose your job and your way and still rescue yourself. 'Larry Crowne' creates a self-excavated utopia, and I love that idea, that message.
If there's something that can be formulated, regulated, give you security, then nobody would lose money. Every movie would be successful. And that's certainly not the case.
What is filmmaking but groping in the dark?
In the theater, you go from point A to point Z, building your performance as the evening progresses. You have to relinquish that control on a film.
If you're afraid of movies that excite your senses, you're afraid of movies.
Any filmmaking, any film is a collaborative process. There's always a lot of people working on things together.
There's a period just before you start a movie when you start thinking, I don't know what in the world I'm going to do. It's free-floating anxiety. In my case, though, this is over by lunch the first day of shooting.
When I am cast in a movie where I feel that the woman's part is more interesting, I usually start thinking about Spencer Tracy and Fred Astaire. They seem to be the most clear actors when working with women.
I am co-writing a screenplay now and I'm working on the rights to another story I want to do. So I plan to produce and direct. So, for me, I don't really feel that I am vulnerable to that sad baggage that comes with the business of filmmaking.
I think there are advantages to different scales of filmmaking. You wouldn't want to do just one thing.
The only job that was ever of interest to me other than filmmaking is architecture.
It's just lovely to be involved in a movie that does go back to the basics - characters and great writing.
Francis Ford Coppola did this early on. You tape a movie, like a radio show, and you have the narrator read all the stage directions. And then you go back like a few days later and then you listen to the movie. And it sort of plays in your mind like a film, like a first rough cut of a movie.
There are a lot of roles in Shakespeare, basically. If I feel that the script is a movie, I would be interested in doing any role of Shakespeare's.
Music is the soundtrack to the crappy movie that is my life.
I have realized that I hate going to the premieres of the movies that I'm in. Because I feel this tension after the movie is over that everyone feels obligated to say something nice to you. It's so unnatural and uncomfortable.
Hollywood's old trick: repeat a successful formula until it dies.
These days I'm mostly familiar with two parts of L.A.: one is movie culture, and the other is Asian culture. The Westside is work, and the Eastside is Chinese - which means my friends.
There's a level of sophistication of filmmaking that's mind-boggling. Anything you need for your movie, there's an establishment that can make it happen really fast.
I've always wanted two lives - one for the movies, one for myself.
Thinking back to those earlier days, I felt I was weak when I wasn't making movies, and then when I was, I thought I was weak as a family member.
The motion picture is like journalism in that, more than any of the other arts, it confers celebrity. Not just on people - on acts, and objects, and places, and ways of life. The camera brings a kind of stardom to them all. I therefore doubt that film can ever argue effectively against its own material: that a genuine antiwar film, say, can be made on the basis of even the ugliest battle scenes ... No matter what filmmakers intend, film always argues yes.
I look at American movies, the big muscles, and try to apply that to Chinese film-making.
I guess in Hollywood you chart your life by Oscars. You say to each other, "Remember when that movie won that year? It was 2006. Remember that?"
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