Being able to interact with [studio president] Kevin Feige and have him know who I am and know me as a person, and be able to then sit down and have a conversation about story with someone who's familiar and comfortable is invaluable.
On the first one, X-Men: First Class, it would be James McAvoy, Nicholas Hoult and I. I'd basically inhale, there would be a red flashing light, and then the stuff at the end of the hallway would just blow up. It really felt like I could do those things, but, sadly, I can't. It was a lot of fun; I got to play a superhero that I was familiar with since I was a kid. It doesn't really get much better than that.
I didn't get a chance to meet Glen [Beck] for this movie. I did meet him a few years ago, coincidentally, before any of this happened. But I've been familiar with his work, so I felt I wanted to get it right. I wanted to honor him. I respect him and I think the way he does his job is admirable. Yeah, there was an added incentive. I wouldn't call it pressure, but incentive perhaps.
I wasn't terribly familiar. I had read some of the headlines but didn't quite understand difference between WikiLeaks...[Edward] Snowden. And then watching the documentary, working on the film, you got to see his personal journey through this and sort of understand more about what he went through.
We're at a historical juncture: A growing number of people are declaring what has been achieved over the past decades in Europe to be wrong. They want to return to the nation-state. Sometimes there is even a blood and soil rhetoric that for me is starkly reminiscent of the interwar years of the past century, whose demons we are still all too familiar with.
In terms of talking with my collaborators as they came onboard - Jeannine Oppewall, our production designer, Dante Spinotti, our cinematographer, and so forth - I said to them, "Let's pretend that this is a place like Honolulu. Let's ignore the fact that all these other movies have been made here for decades and try to come at it with a fresh eye, as if it were an exotic city that people aren't that familiar with. And let's present our own view of it, create a world that's unique to this movie [L.A Confidential].
I don't look to play people that are familiar. I look to play people that are different, challenge, unknown, foreign, and therefore scary.
It's a familiar story now: a meek and depressed high school chemistry teacher with terminal cancer cooks up a scheme to make and market a superior grade of methamphetamine to provide a nest egg for his family after he's gone. But over the course of five seasons Walter White goes from milquetoast to murderous in order to survive.
I worked with and became close with these characters [in Twilight] and the people who are portraying them and it's kind of, I think, a safety net that we had, and it's going to be kind of strange not going back to set with these people that I've become so familiar with.
The first half [of Valley of Violence] was to endear you to all these people and give you all these archetypes that you're familiar with, and then the second half, just to see all those archetypes unravel like real people.
If one of the drafters of the Declaration of Independence came back today, he would not be surprised about what Americans were saying and believing and articulating in their public statements. It would all sound rather familiar.
Hispanics speak Spanish or Portuguese, which are languages we Americans are familiar with, so it doesn't seem to pose the same types of problems as Arabic-speaking Muslims do in Europe.
It was really John's [Musker] idea to begin with to tell a story set in the world of the South Pacific, Polynesia. He started, he just loved the world and he started reading a lot of mythology, which most people are not that familiar with.
I feel that this is a vocabulary that I grew up with. This biblical landscape is very familiar to me, and it's natural that I use those landmarks as references. Once they were universal references and everybody understood and knew them and located them. That's no longer the case today, but it is still my landscape.
The everyday, familiar sense of self who lives in time, and that dimension which we've called presence, that is always here, that is still and quiet.
What I think the appeal of the [Donald] Trump program has been is that it offers some kind of concrete, specific, historically rooted, a familiar image of how ordinary Americans, regular Americans can earn their living.
I`m just learning that according to a source familiar with the transition process, President-elect Donald Trump intends to select Lieutenant General Michael Flynn as his national security adviser.
When I'm working, I get super lazy and I just do something that I'm familiar with.
I wasn't familiar with Patti [Smith ]much at all. When I was asked to photograph her, my wife said, "Oh my God, Patti Smith!" So I looked at some Robert Mapplethorpe books and I recognized those pictures.
I'm going to wait for the confirmation hearings. I'm familiar with General [John Francis ] Kelly because of my work on the Armed Services Committee. I think he is a fine general and I want to make sure that he has a handle on some of the complicated issues that are contained within Homeland Security.
You have social media and the Internet and immigration and so, suddenly, cultures are clashing and people feel as if they're less familiar with the people around them. That causes social anxieties.
I'm not that familiar with Andrew Garfield, but if the powers that be chose him, I'm sure he'll be good.
Sometimes the former forces are in the ascendance, and "democratic governance" is eroded, though anyone familiar with intellectual history would expect that the slogans will be passionately proclaimed as they are drained of substantive content. We happen to be living in such an era, but as often before, there is no reason to suppose that the process is irreversible.
It is familiar to mainstream academic scholarship. One very prominent political scientist, in his standard text American Politics 20 years ago, observes that "The architects of power in the United States must create a force that can be felt but not seen."
I think if you worked at the community level in Chicago and then a politician on the South Side of Chicago, and worked at the state level, then you're pretty familiar with all the variations of politics in the African American community and criticisms you may get. If you're not familiar with those or you don't have a thick enough skin to take it, then you probably wouldn't have gotten here.
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