In Los Angeles, everyone is a star.
Raising the standard of the work, not complaining about somebody not voting.
I get nervous when a picture goes beyond two hours.
People have said to me for a long time, "Man you're funny." I say, "Well, I'm quick," but being funny on purpose, take after take - that's why I said for me it was new territory, and so by improvising something might come out that might be good. And it's film, so they can cut it if it isn't.
When people say "What do you want people to get from this movie?" I say, "Well, it depends on what they bring to it." I don't try to decide what people should get from it or why. I don't do a part for those kinds of reasons.
It just happened that we did [Fences] seven years ago on Broadway. Scott Rudin brought me August Wilson's original screenplay for it, and I realized I hadn't read the play. So I read it. Then I realized that Troy (my character) was 53 - and I was 55 at the time. I realized I better hurry up! I might be too old!
[Movie "Fences"] is more than holds up today. We have had a tremendous response at the screenings.
There's things that I can do as an actor that I couldn't do in any other form of life and I've got a strange personality. But film requires strange people, so I've got a nice comfy home.
I read a ton of scripts. I read a lot of scripts, and you read one, and first of all, you felt like you read it in 14 minutes, because you're turning the pages so fast you can't wait to see what's going to happen.
[Rose from "Fences"] couldn't just jump out there. Not just because of economic reasons but because how she was looked at in society at the time. There were a lot of factors that made you stay I guess.
[Saniyya Sidney] was very serious about her work and her craft, and she wanted to be good, and she wanted to work on it. So I said, "Ok." It was as simple as that. She was just right. She just has it.
Black or white good parts are hard to come by. A good actor with a good opportunity has a shot; without the opportunity it doesn't matter how good you are.
If you take the time and put in the effort to write your own material and absolutely refuse to be denied the right to make your film it is difficult whatever colour you are.
Fundamentally, the most important thing is to get the film made for me and to get as many people to see it as possible. And if I help that, then - I know I help that, let's put it that way. I do know that I help that. It is called show business.
I think the bottom of the totem pole is African-American women, or women of colour. I think they get the least opportunities in Hollywood.
Denzel Washington: I like the collaboration, I like seeing people do well, so I really plan to direct the rest of my days.
I am not going to bury my son! My son is going to bury me!
That's where you can find things and modulate your performance and give the other actors something fresh to respond to. We've probably all worked with actors who when it's suddenly your close up, they get sleepy. I don't like that. It's selfish acting, and I won't tolerate it.
You don't know when you're being watched. That's one of the weird things about celebrity. It's my least favorite part of acting, celebrity.
I worked with Sidney Lumet years ago, and we had a long rehearsal process, and he would tape out the entire set on the stage, so I stole that from him.
In fact, someone was telling me that Gladiator was the one film where Ridley Scott didn't take a producer's credit. And it won. But this guy changed the industry twice; with Aliens which was a whole new way of looking at things and Blade Runner that was also a whole new way of looking at things.
I always say the time to worry about flying is when you're on the ground. If you don't trust the captain, don't go.
I didn't realise that Ridley Scott has never won an Academy Award.
After directing the first film it feels kind of tricky being back to being in front of the camera, because I've always got one eye over there, kind of thinking of what they are doing, and how the shot is being composed. I think it takes a couple of films to just get back to just being an actor.
[Russel Crowe] has been through a lot and had a lot of success. No one knew who he was when I worked with him 12 years ago. He's just come off a great film in Australia- Romper Stomper - and so it was good to see him again. Obviously, I'd seen him since.
"It's important for us to tell our stories."
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