She's almost, in a strange way, like a saint. Even though she keeps making wrong decisions, she's very ethically motivated...
Susan Sarandon & Lorene Scafaria—
Thelma & Louise
[Sarandon:] I think everybody can act, really. Surviving in this profession is something you can brag about.
Anton Yelchin & Jeremy Saulnier—
Star Trek Beyond
[Yelchin:] I think there's a selfishness to acting, but it's a selfishness that I
be thinking about anything else.
Tom Hiddleston & Marc Abraham—
I Saw the Light
[Hiddleston:] I sort of represent Hank Williams' experience for the world: his truth. His joy, his pain, his struggles. Dressing like him, sounding like him, speaking like him, and singing like him.
How inclined we are as parents to project ourselves on our kids: what we want them to be, what we think they should be. We can't help ourselves....But the essence of being a parent...is just giving up. Giving up that control.
Take Me to the River
We have to play the role, fake it, before we actually have earned the right to call ourselves adults, and there's nothing wrong with that. But it does sort of set us up for this kind of fall.
Sally Field & Michael Showalter—
Hello My Name Is Doris
[Field:] Trying on clothes...that was how I started to find who she was...It was when I started to play dress-up with these racks and racks and racks of old, revolting clothes.
Eye in the Sky
My dad...used to just say, 'Don't act. Be...This is not about you. You are here representing another human being. Get your ego out of the way and honor this person and represent them with humility and truth.'
Reggie Watts & Benjamin Dickinson—
[Watts:] Dancebots! I'd just love to see an entire ballroom floor of people in exosuits!
How to Be Single
I started doing a lot of research into the science of love and sex...And I met my husband and he didn't check off a single box on my list. He just loved me and I loved him.
László Nemes & Géza Röhrig—
Son of Saul
[Nemes:] It had to be a very organic process. We wanted to rely on the imagination of the viewer.
Austin Powers: International Man of Mystery
We did tons of research, interviewed the daughters, and even got to talk to Kirk Douglas before we started shooting...we tried really hard to be completely authentic...
Abi Morgan & Sarah Gavron—
[Morgan:] Part of our desire was to give voice to the voiceless...these extraordinary working-class women.
Cary Joji Fukunaga & Abraham Attah—
Beasts of No Nation
[Fukunaga:] I'm not sure where I'm headed...I still look at all these movies as an experience to learn from.
Everybody understands when we make a conventional technique—it's very direct. But I feel that's reducing the human power of observation...
The Amazing Spider-Man
It's a tricky thing...you're going to get different accounts of different instances from different people.
The Garden of the Finzi-Continis
[De Sica was] Like a general...he said to me, 'I want to see in your eyes all the psychological passages of your emotion.'
Lily Tomlin & Paul Weitz—
[Tomlin:] I like to do it all...you want to get as much information, as much input as you can...I like to learn something that I can do in the scene...
Sir Ben Kingsley—
Learning to Drive
—8/25/2015 & 3/05/2005
I was taught to deeply respect the written word...the role is on the page, the character is in me, and I suppose I bring my intuition and my wisdom and my love of language to that page, and that's how it comes to life.
Mark Burton & Richard "Golly" Starzak—
Shaun the Sheep Movie
[Starzak:] We add the mumbling for comedy or to help a story point, but generally we try to keep it as dialogue-free as possible.
Marielle Heller & Bel Powley—
The Diary of a Teenage Girl
[Bel Powley:] Reading it made me realize how much we don't talk about about teenage female sexuality.
Jason Segel & James Ponsoldt—
The End of the Tour
[Segel:] I really did relate to this feeling of extreme caution that, uh, even something I say off-handedly could now be printed out-of-context, anywhere, for the rest of my life.
Kyle Patrick Alvarez & Dr. Philip Zimbardo—
The Stanford Prison Experiment
[Alvarez:] I wanted it to be a collaborative environment. I didn't want to pit the actors against themselves. The characters are pitted against each other. So the actors didn't have to be.
My Fair Lady
Theodore Bikel: In the Shoes of Sholem Aleichem
I'm a communicator. I reach an audience by whichever means are possible, and my voice is one of them. The other is the ability to clearly enunciate what it is that I want to say...And to treat everything as a story to be told.
—July 10, 2015
When I got to set, [Woody Allen] kind of showed me what the temperature of the movie was. I didn't know if I was in a comedy. I didn't know the tone. I thought a lot about jazz when I was working on this.
Tab Hunter Confidential
It's not an easy business...
Thomas Mann, Olivia Cooke, & RJ Cyler—
Me and Earl and the Dying Girl
[Mann:] It's about the importance of opening up, or letting people in, and making real connections. Even if you're facing rejection, it's ultimately more fulfilling, and you at least can learn something from it...
Me and Earl and the Dying Girl
The script already has such a beautiful rhythm...quite playful and fun...As he starts to come of age, the movie starts to be still and quiet, and so that's the kind of big picture that we set out to design the film together.
It's a prison movie when you think about it....you know, his being watched, infantilized. And yeah we're talking about this specific period of his life and his career where it's a dialectic between work and life, and enjoyment and freedom...
Jason Schwartzman & Bob Byington—
7 Chinese Brothers
[Schwartman:] This kind of guy is in a fog type of alcoholism...you can have a period in your life...where you look back and you go 'Gosh. I was in a stasis then. I didn't do anything.' There's no movement. And I think Larry's in that zone.
The Age of Adaline
Game of Thrones
There's parts of me that can be very confident...I guess in real life I don't really dare to do that, yeah, because I don't think it's smart to do, and I'm not confident enough. But to do it in a role, it's fantastic.
Queen and Country
Hope and Glory
From its very origins, particularly when it was black-and-white filmed, film was so closely connected to dreaming. And it's probably why people connected to it so readily...
The Hitchhiker's Guide to the Galaxy
Along comes the maid at the end, in the sleepwalking scene. And to my amazement, she’s wearing Arthur Dent’s dressing gown. Not any more, I hasten to say, because it was too big for her.
Raphael Bob-Waksberg & Lisa Hanawalt—
Staying with some friends in this big house in the Hollywood hills...I just remember looking out over the deck of this house and seeing the city below and feeling like 'Oh, I’m on top of the world. And I’ve never been more lonely or isolated.'
Love Is Strange
It’s a pretty classic kind of set-up for the love story genre because it’s two people who are in love who have to face an obstacle together. And what we reveal in the story is the depth of their love, through how they do that.
Malcolm is a totally different kind of role than I've ever played. He's a listener. And that's a really powerful thing to be able to do...Hank Jennings was a duplicitous guy...
At the end of the shoot, I would talk to the actors, like 'Okay, next year, here's what's coming.' And then I had the year to think about it, and so did they.
And So It Goes
The Case Against 8
—6/19 & 6/20/2014
I enjoy the creative process. I love the writing part of it, the editing—one of my favorites. But I also like the production process. It’s just fun to do. That’s what I’ve discovered, you know, as I’ve gotten older.
First Person, Casino Royale
Never, ever date a writer. It’s always a mistake. Just do not trust us.
Paul Katami & Jeff Zarrillo—
The Case Against 8
[Katami:] You know, watching the film did one thing for us. It made sense of what happened, because when you're living it, it's very odd to have to go to court and defend your life, and have to testify about your love and how that cannot change.
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