The Blu-ray is the real cinematech of world cinema. That's how it's being preserved. All of these guys that are trying to preserve 35mm negatives? They are wasting their time. There are better ways to see and project this stuff. It's called digital.
The thing that's interesting about wire walking is that we never get to see it other than looking up. It's like a circus thing. It's a guy on a wire.
I love seeing guys on the worst possible day and watching them scramble.
Clearly, you can think back and see that a character has had enormous odds stacked against him and has to overcome them. It's usually a guy, I'm afraid. But then you're setting up a new movie you have amnesia about these meetings, when you've discussed it more analytically.
I can do comedy but it's a certain type. I'm not a physical comedy guy. I'm not Will Ferrell - there's just this crazy and get naked and run through the thing screaming. That's just not my style; my style is drama or - I'm not slapstick.
I just celebrated my fourth birthday on the set, my fourth birthday cake. So it's been awhile and, you know, I grew up with these guys.
I always feel that the best roles are written for white guys.
I'm not a comic book character. I'm not Indiana Jones or Bond, I'm a flesh and blood guy who is ageing and changing. I don't have to do what I did in '93. I couldn't do it and thank God.
Certainly, from where I stand, I'm not a specialist in wildly different walks and voices. But I find as much variation and nuance as what satisfies me in what I do. So, I don't find this particularly different. He has his own peculiarities. You're probably talking about a cluster of Englishmen in suits but I've done quite a big cluster of guys not in suits as well, which I've occupied myself with. So, I don't find that this is the one that stands out.
There are clues in the script... he will say "I think drugs are immoral"'... but the guy who says that kills, tortures, pimps and has whores working for him. There is this strange morality going on, which is rather like the Mafia.
In The Godfather, for instance, they say they won't deal drugs because they have a code of behaviour. He is the last remnants of that. So playing someone like that, who is also in pain with his kidney stone, means you're beginning to find a dimension of the guy who is king and all show and the private guy who is in pain.
In the first Chucky film, there's a scene in the elevator where a woman is just bringing food to a friend's home and they're in that cage elevator. She says, 'What an ugly doll,' and walks away. As the elevator begins to descend, Brad just decides he's going to drop this in and it was so simple but he just goes 'F*&k you,' and the audience went crazy. It was really a marker for us, and an evolution to understand what the potential of not just this killer, but this guy that obviously has some opinions as well.
It just sort of suggested a very specific kind of impudence like this little-man syndrome. Chucky has this Napoleon complex. He's a little guy with a lot of rage and that really pointed us in the direction of exploiting that aspect of his character, which people always seem to enjoy.
Everyone's really different. I've worked with women who I've never wanted to tell anything about myself to, and I've worked with guys who have been pouring wells of emotion. So emotional availability is not a gender-specific thing.
I don't like to have to depend on someone else to reset the props. It's like, "No, you've gotta take responsibility for it." I know how things fit and feel. To reset that stuff myself, it's easy. The prop guys are hilarious because I'll have one set of gloves and I'll keep reusing them to get the most out of it. They're like, "We've got boxes of these."
I thought that the behavioral and some of the profiling stuff was interesting. The thing that I was most interested in, and the thing that we were really adament about, was let's get these guys who were there on tape, or in some kind of way, telling what happened. No one has really talked to them all.
Awards movies are normally sort of... life-affirming and noble. It's probably too much of an intellectual conceit and, you know, people don't like it when you don't lead the bad guy off in cuffs.
The war is definitely in the background, only referred to in radio news blips and conversation. I think, ultimately, this film is about the choices these guys are faced with. In that way, I think this is a more personal story about their friendship, about the reaction that they have when they're essentially faced with death, to a certain degree.
Today the sort of thing for a guy in England growing up is that you have to suppress all your emotions. It's almost like you have to sit back and be cool.
I never ever would have thought initially it would have been someone like Pierce playing Charles. I think he has an innate likeability to him, as soon as you meet him he's very, very charismatic. Charles, on the page, was someone who's very domineering and quite a negative character, and Pierce just by being Pierce can change the whole dynamic of it, which made for a much for interesting relationship. He's a really nice guy.
I think some of those guys might actually be better off if they had more wussy in them.
You liked the freshness of it, c'mon try it" and I said "oh God, I read it three of four times" and finally I said "all right, I want you guys to organize a reading and I want you to be there to see how terrible this is not going to work at all", so we had a table like this, and read the script, and it was just great.
There's lots of good movies where you feel that the dialogue could be improvised, but very little was. The "Big Lebowski" was like that where people say "oh, you know, that sounds so..." and we'd always go back and get every man, every ellipses in there the way these guys write it. Because not only is it saying what Michael wants the character to say but the way they all speak kind of creates this tone because it's not exactly real.
The entrances I make now, when we kick in the door of a high-risk warrant, eighty percent of the homes we're kicking into, it's dark in there for some reason. That's just the way the bad guys are doing it now. So now all of my sights are night sights; I've also put special light rails on the bottom of all of them so I can put a special light on them that's combination white light/laser.
I have had a lot of your countrymen as co-stars, that's true. I quite like them both. It depends on the person. I don't think English makes the man nor does American, but I like this guy right here [Clive]. He's nice and tall, which means I never have a double chin - there's lots of shots of me looking up, and I'm a swan. Well, we all laugh but it's so true.
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