The trailblazers are my role models in this industry: Sidney Poitier, Harry Belafonte, James Earl Jones, and Billy Dee Williams. I keep their pictures in my trailer and try to measure to their standards every time I act.
I find making trailers really frustrating, because sometimes the worst trailers are for the best movies.
The TV said you should ignore bullies and they would stop harassing you. In practice this worked about half the time. The other half, you ended up with two tall boys shadowing you through a trailer park, their fingers taking little nips at your clothes, like dogs.
When you go into a movie and you're surprised by it - these days with brand recognition being such an important thing and essentially trailers, the way trailers have evolved encouraging people not to see the film unless they've already seen the film which is kind of the paradox of marketing these days anytime that you enjoy genuine sense of wonder and surprise in the movies it's priceless.
There's a lot of time sitting in movies, so you can put alligators in people's trailers in your spare time. So it [making a film] moves slower, which in some ways is great, because you can live with a scene and invest in it a lot. And in some ways it's hard, because sometimes you can start to lose your energy a little bit, but both are fun.
I came out of the make-up trailer with 400 whiteheads on my face and they were like, "Kristen, come on!" I was like, "What? It's realistic! I had whiteheads in high school," and they were like, "No, let's just go with regular, standard, run of the mill acne."
There's the difference between hardcore motorcycle riders and people who own motorcycles. Some people ride'em and some people trailer'em.
I never have goals or dreams. My sister says it's pathetic and lazy, but I had a goal, to tell jokes to pay bills and not have to live in a trailer. So, I think I'm living my fantasy. I don't have another.
Trailer for sale or rent, rooms to let, fifty cents. No phone, no pool, no pets, ain't got no big regrets. Two hours of pushin' broom, buys an eight by twelve, four-bit room. I'm a man of means, by no means, king of the road.
My mother was a barmaid and I was raised in a trailer park. I'm used to that language. I put it on the screen so that people could interpret it as they wish.
I always use the Internet. It's a great marketing tool. It's a great starting point, allowing you to show your trailer and have people all over world be able to see it. It was much harder in the old days.
When I write a film, I have already made the trailer
I have little compassion for people in trailer parks who refuse to move after getting tornado warnings. How hard is it for them to relocate? Their houses have wheels.
I am a bit of a gourmet chef. I love cooking mostly Thai food. And a lot of times on movies, you have these trailers that have these little ovens and kitchenettes. A lot of actors never use them, but I would cook lunch just about every day.
I felt like I already knew how to race by the time I was four. I was always at the race track with my dad. I watched him race thousands of laps in a sprint car standing on top of a trailer watching him, getting down and cleaning the mud off his car. That's just what I grew up doing.
In 1990 I did a story with Helena Christensen about a woman who lives in a trailer in the middle of the desert and finds a little crushed UFO with a martian who has survived the crash. She takes him home, and they fall in love. Later he has to meet with his fellow martians who have arrived to rescue him. It's a sad ending. This was my first truly narrative story and apparently the first narrative story in fashion photography.
There are certain aspects of acting that I don't like. I'm not a person who loves being on set. I mean, I know people that have their espresso machines in their trailers and they like being in there and they put pictures on walls. But I don't like it. I don't like sitting around.
You know, in an ideal world, people would just be intrigued and go and see a film without knowing anything about it, because that's where you're going to have the most experience of a film, the biggest, the most revelation of a film. But at the same time, I think there are benefits of having seen a trailer where you actually look forward to seeing moments in a film knowing that they're coming up. I don't know which is better.
Actors are not a great breed of people, I don't think. I count myself as something of an exception. I grew up in the theater, and my values were about the work, and not being a star or anything like that. I'm not spoiled in that way, and if I fight for something, it's about the work, not about how big my trailer is.
All I ever wanted to do was be on Broadway. I mean, remember, I grew up in a trailer.
Most people work fifty weeks a year so they can do this the other 2. Well the smart ones live in a ski resort, where the boss lets them have powder snow days off. And almost forty feet of snow falls every winter thats a lot of days off. A lot of doing what you moved here to do. Most major ski resorts are now so big that regardles of what kind ofjob you have in a city there's probably a job almost exactly like yours in a ski rsort like this. So quit your job and rent that U-haul trailer now so next winter this can be you. Not you just sitting there watching this and wishing that this was you.
Unless you've also had some experience dragging around a boat trailer, [topping off the gas tank] may not sound important. But trailer driver's know: a gas stop can be a traumatic experience. You need enough clearance on every possible side. You can't cut the turn too sharp or you'll clip the gas pump. Getting back on the freeway can be as challenging as sending a man to the moon.
I think there is also a certain degree of expectation that's set up by trailers, where even if you know what's going to happen in parts of the film based on the trailer, you almost anticipate and look forward to those moments based on having seen the trailer.
Working on 'Raising Hope' is a very hurry-up-and-wait activity, and I just always liked the idea of being as productive as I can be. I write because I don't just want that time to dissolve, where I'm sitting in a trailer staring blankly at the paintings of moccasins that came with the trailer.
There's this absurd situation on a movie set where your trailer's here and the set is here and the lunch tent is here, and you're not allowed to get yourself from these three places.
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