Friends can hurt you, but the possibility of pain with lovers is so much greater because your expectations are so high. You don't ask as much of your friends.
Set designers, costume designers, actors, writers, music, that's what is beautiful.
You need to be a good screen partner. It's very meaningful to me to be a part of great acting performances.
A good movie humanizes people.
In truth, the world is a complicated place.
What I learned about acting, from my experiences directing, is why so many producers and directors don't like actors. You go through all of this work securing a location, figuring out how to get electricity there, how to get trucks parked where they need to be, and where catering is going to come from. And if the actors don't come up with some magic, it actually didn't matter. That creates a lot of animosity towards the actors.
Often you see a famous actor who says they produced something, when all they did was claim to have an idea at a dinner party and make three phone calls.
Most of us float with the river and there are a few people who move the river. Robert DeNiro is definitely one of them.
When I see Lionel Messi play soccer, he lets the game come to him. He lets the game unveil itself to him, then like a lion he eats the whole thing.
I got to work with Robert DeNiro once and it was a strange experience. Gwyneth Paltrow and I were doing Great Expectations movie together and we were complaining about what a mediocre film experience it was. DeNiro showed up on set and all of a sudden the director got better, the director of photography got better - everybody got more interested and excited. DeNiro isn't waiting for other people to create the environment that he wants, he brings it along with him.
I remember staying up all night waiting to see the first screening of Cape Fear because you knew that every time Robert DeNiro had a performance it was going to be revelatory. Then DeNiro hit this place, he seemed like he was done with the emotional cost of impaling himself like that, and he dedicated himself to comedy.
I've had several moments in my career where it seemed like I might not age out of the bracket the world wants to put you in. It's hard to keep growing up inside the performing arts. It's very difficult, and presents a lot of unique challenges.
Years ago I was going to play Chet Baker in another movie and I really felt drawn to that character and the script is good and I met with Robert and we seemed simpatico and we developed. But I had a real passion for that role and that brought me deep into that film 'cause I got the sense that Robert Budreau was going to really let me be creative inside this part.
I don't think Emma Watson needs any advice. She's an incredibly smart young woman who knows what she wants out of life and she has some great parents.
Alejandro Amenabar is a different kind of director than I lot of the directors I've asked for. He really asks you to enter his dream as opposed to, you know, a guy like Sidney Lumet or something is going to ask you to create a character almost like a documentary. He wants you to make the people really real and he's going to capture it like a documentarian.
It's certainly an interesting moment to try to talk about, 'cause you could make a great show about the police force right now, with all that's happening in the news and Ferguson and all of it.
The drones are really interesting - how have the troops withdrawn from Afghanistan? Because we've upped the drone strikes and most of the country doesn't even really know what that means or who we're killing or... it's such a new weapon that we don't know what the long term impacts of that kind of military action is going to be.
I really did Regression to work with Alejandro [Amenabar]. I found him very interesting. His movie, The Others, is one of the better scary movies of the last period of time.
I'm always trying to look for how I can find human stories that aren't just dramas.
How to make a scary movie human, take a movie like Sinister. How can I make that guy so real so that the scary elements of it are more scary and it functions as a genre movie - as the way it's supposed to, you want to hear a ghost story at midnight, that's a good one - but how do you fill it up with humanity inside, in staying true to the genre? You know? Does that make sense?
My favorite stories are human, so I'm always looking for...
I did this movie, Predestination, and it's one of my favorite movies I've ever made, because sci-fi really lets you talk about ideas in a way that's not pretentious.
I like [that] there's a certain inherent drama to those jobs that is exciting to tell stories about and it's still real life. I'm a little less interested in the current fad of being obsessed with superheroes and things that are so out of the box.
I love really exploring... you know, a cop drama for example is a great way to explore class in this country and explore, you know, really, identity in the country and who we are in a way that is extremely exciting, but it's also real, you know, it's also real people and real drama. The same with the military. I mean, a good science fiction story is also great.
It's a really unique job that is a little schizophrenic and you have to kind of do it with a sense of humor.The trick is figuring out what each job is asking of you and what it's not asking of you.
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