You might have a favorite book or film, but you can only watch or read it so many times before you have to let it sit and then go back and realize it's your favorite still. At some point everything gets a little stale and you have to step away from it.
If the money's right, I'll do a film.
A film is just like a muffin. You make it. You put it on the table. One person might say, 'Oh, I don't like it.' One might say it's the best muffin ever made. One might say it's an awful muffin. It's hard for me to say. It's for me to make the muffin.
There was a moment in the early '80s when I wanted to work on films and wanted to live in L.A.
Often I think the novels I read won't make very good movies - I better not say which I'm looking at for potential films! - but it's nice to have an excuse to just sit and read for a whole day.
I've never made a film that I didn't believe in, you know? However the picture turns out, I've always given everything to it. That's kind of how I approach life. I can't help it. There's no part-way with me on anything in any area of my life.
The thing about film-making is I give it everything, that's why I work so hard. I always tell young actors to take charge. It's not that hard. Sign your own cheques, be responsible.
‘Blade Runner’ is such a unique film. How do you describe a diamond? I don’t think you should ever touch it again.
I think I'm an actor. You can hire me. I can do a good job. But you also have to get lucky now and then. Every film-maker knows how hard it is to do a good film. You have to just make many, and see how lucky you get.
I also love Disney, and will defend doing so, because there's so much in those films and I don't care if it's stereotyped.
I like films, or some films, and would be intrigued to see my work on screen.
Any film, or to me any creative endeavour, no matter who you're working with, is, in many cases, a wonderful experience.
Farber had a huge effect on me as a writer. I don't mean I write like him. Farber is, first of all, a great stylist, a great writer. Anyone can read Manny Farber's film criticism, whether that person is a novelist, a poet, another critic, a historian, and learn a lot about writing by reading him.
When I make a film I'm away from home for two to three months. So I want my kids to look at my films one day and say, I love his movies, I love his choices-because he loved them.
I have nothing against 3D films but I do not need to see them.
Jerry Bruckheimer really is an executive producer, who obviously is the most successful producer in the history of film and television.
In the beginning, all I wanted to do was to be a singer and a dancer. That was my real groove, my real interest. When it came to doing films, my biggest goal was to do a commercial.
I take more jobs when I need more money, if I'm investing in films. I take fewer when I don't. Or if something really good comes along, I usually find a way to do a good job on it in the time that I've got.
I have come close to producing films. But generally by the time they hit the screen, there's about 50 people with producer credits, so what's the point. I usually find scripts I like with no money attached and take them to producers that I know and try to raise finance.
It's about finding unique, one-of-a-kind films that I would want to see myself. I think Party Monster is one of those.
For me, when working on a film or play or television show, everything for me starts with the screenplay and I am devoted to that and that is what I work from. Any research I do or any preparation I do on my own is all ultimately in service of that.
You know, when you choose to make your living as an actor, it's all fine and good to look at it as some kind of artistic endeavor. At its best, it is that. But the fact is, most of the actors out there don't earn $3 million a picture and can't afford to take two years off between films and look for the right thing. Most of us are tradesmen.
My first interest was always music, and somehow that channelled itself into films and acting. I don't know what the natural transition of it was. I mean I acted a little bit when I was young and like any kid would in a community theatre.
In the late 1980s the amount of German films was down to four or five percent of the market, and the remaining 95 percent were American. It is now 20 to 30 percent German productions.
Well, I certainly was exposed to and learned to appreciate the work of great directors early on. As a kid, my mother used to take me to see really interesting arty films in Los Angeles.
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