Rob Minkoff & Tiffany Ward—
Mr. Peabody & Sherman
Looking at it from the perspective of today, you can’t help but look at them then and say they’re the original
. It’s an alternative family, and what’s wrong with that?
Anchorman 2: The Legend Continues
It’s very funny when you tell...the studio...'We have a second movie.' They can’t comprehend it...they were like, 'Ha ha! Must feel like that, right?'...'No, we literally have a second movie. We've cut it, if you want to watch it.'
Richard M. Sherman—
Mary Poppins, The Boys: The Sherman Brothers' Story
[Walt Disney] pulled the car off to the side, and stopped the car, and he says, 'You're not going to give your royalties on this song away! It's going to put your kids through college!'
Geoffrey Rush, Sophie Nelisse, & Brian Percival—
The Book Thief
[Rush:] Hans has a kind of natural emotional intelligence for he senses a spark of life and isn’t going to engage in therapy like 'Are you feeling grief?'. He’d rather play the accordion and say 'I understand something about you.'
Bruce Dern & Will Forte—
[Dern:] A couple years ago, I got tired of performing. And I just wanted to be human beings in movies from now on. I want to be real people. I don’t want to perform. I want...an hour and forty-five minutes of moment-to-moment behavior.
Dallas Buyers Club
Staying in character—it was just an obvious thing. For me, there were so many physical attributes. So many emotional things to keep track of. I couldn’t imagine, like, letting go of all that.
All is Lost
The sort of ability to put total and complete trust in a bunch of young yahoos for a guy who’s accomplished as much as [Redford] has was kind of shocking—that he makes decisions to kind of expose himself.
12 Years a Slave
The point of change, I think, for Solomon that makes him very distinctive and distinct from a lot of people and a lot of us...is that he recognizes that he is actually in a fight for his mind.
12 Years a Slave
It wasn’t until she became of sexual interest to Master Epps that she was sent out into the field...that spoke of a woman who had kind of the Stockholm syndrome where you’re traumatically bonded to the people who cause you the most harm.
Even the best movies...are not as rich and nuanced as detailed as real life or an actual human being. And so to compare your real life, or your partner or lover or whoever to a character in a movie, you're setting yourself up for disappointment.
For me, if you want to make a film about Saudi Arabia, there is no way you can escape religion; it's a big part of people's lives, whether they are religious or not...people find themselves in situations where they position themselves next to religion...
Brie Larson & Destin Cretton—
Short Term 12
[Larson:] One of the interesting things that I learned was that sometimes loving someone or showing love doesn't always mean that you have to give in. Sometimes you have to be hard and kind of get them to toe the line a little bit.
Billy Bob Thornton—
Jayne Mansfield's Car
My father wasn’t the greatest guy in the world, to me. And his treatment of me wasn’t that great. Some of this stuff is directly taken from me and my father. And my father actually took me to see Jayne Mansfield’s car...
The Spectacular Now
(500) Days of Summer
Everybody's got an idea about what everyone is. But only if you take the time to kind of be with that person and get to know them and understand where they're coming from and what makes them tick [do] you start to see there's a lot more...
In a World...
Voice-over...it's the ultimate acting, because the blind voice, you're not judged by what you look like; you're judged by what you sound like. So you can be anyone. You can be any nationality; you can be—I could be a dude. You know?
Israel Broussard & Katie Chang—
The Bling Ring
[Broussard:] I think he was just lost. And he got lost a little more, but at least he was being loved and at least he learned something from that...not only about the consequences but about who he was. And it’s okay to be who you’re gonna be.
Alexis Denisof & Amy Acker—
Much Ado About Nothing
[Denisof:] He wanted to bring a feel of the mid-century Golden Age of moviemaking, the noir, romantic noir, comedy: some hybrid of that. So kinda keep pushing the tempo of it a little bit so it stays fast and muscular.
Judy Blume & Lawrence Blume—
[Judy Blume:] My father did die suddenly when I was twenty-one...I really don't think I was thinking of that when I wrote the book, but now that I see the movie, I know that it is so much of understanding of loss of a beloved parent...It's so hard.
Sit Down Shut Up
Everybody goes off and has careers and that kind of thing, so it's been a little challenging to schedule everybody together. And, um, but we've all—everyone who's agreed to make this movie has agreed to make this movie.
Henry Winkler & Josh Weinstein—
Sit Down Shut Up
Winkler: I don’t know what happened to me, but when I first read this script, and I went in, I did it with a great calm. I just did him, and I spoke very quietly...he’s always on the verge of possibly crying, it seems like.
Sit Down Shut Up
I did play those kind of parts, quite frankly...maybe a little bit too much...So I made a decision that I did want to kind of harness whatever a-hole capabilities that I have and use them for good.
John Cho, Alice Eve & Simon Pegg—
Star Trek Into Darkness
[Pegg:] Kirk is emotionally compromised from the start of this film. You know, he's driven by something other than sense. He's driven by vengeance. And Scotty really is absolutely right to stand up to him...
Dennis Quaid & Ramin Bahrani—
At Any Price
[Quaid:] It’s like a process of osmosis...I was thrown into the place, and I was just trying to soak in as much as I could from the farmers, from the feel of the place where we were at...
Robert Wagner & Robert Osborne—
The Pink Panther
[Wagner:] Blake...had it in his mind. But he used a lot of what happened and what the actors would bring to it...the thing with the hook on the door and me going around and all that—the sweater...all things that came up as we went along.
None of us are doing peer-reviewed stuff on the things that we believe; we’re just sort of swallowing whatever gets published in
, or whatever, which is not a horrible thing, but...we obviously don't know everything.
The Place Beyond the Pines
When I saw
Gospel According to St. Matthew
, I started getting heart palpitations...It was the best movie I had ever seen...I had to crawl up to the projection booth and call my girlfriend and have her take me to the hospital.
Life of Pi
Crouching Tiger, Hidden Dragon
My role, I think, as much as the book, is provide a platform so people can talk about the irrational.
I've never done heroin, but heroin addicts say it's always trying to chase the euphoria of that very first hit...For a filmmaker...that first movie is such a grand exhilarating adventure, and you're always just trying to replicate that.
I feel, for any storyteller, anyone making any piece of art, the more specific you can be, and the more truthful detail you can imbue into what you're doing, the more universal your story becomes, oddly.
Then She Found Me
That positive, enthusiastic outlook, combined with the topic of sex, seemed like a great thing to be able to play.
I stumbled across this article, 'On Seeing a Sex Surrogate.' And...it was a bit like a 'burning bush' experience; it had a profound emotional impact on me. And I thought: if I could reproduce that, in a film, then I would be making a good film.
I knew from an early point that if we were making a movie in these big fantastical worlds that it needed to be grounded by something that was existential and something that was very personal and internal to the character.
Martin McDonagh & Sam Rockwell—
[McDonagh:] You can never have too much Catholic guilt.
Zachary Booth & Ira Sachs—
Keep the Lights On
[Booth:] An idea that Ira tossed around a lot to me when I was working on this character was control...to find those places where you could be possessively loving of someone and do it because you care about them but also...to protect yourself.
Chris Butler & Sam Fell—
[Fell:] I think this is probably the most ambitious stop-frame project. I mean, you know, it’s all hand-made. You don’t get anything for free. Everything is built. Every blade of grass is cut by hand by somebody and constructed...
Rashida Jones & Will McCormack—
Celeste and Jesse Forever
[Jones:] You read a lot of screenplays, and you read some that are pretty damn good and then you read some that are not so good. And you wonder if anybody’s even heard it out loud. And I think you think, you know, 'I can do this'...
Joel Edgerton & Peter Hedges—
The Odd Life of Timothy Green
The Great Gatsby
[Edgerton:] Being an onscreen parent is definitely a responsibility because kids, where I come from—it really can spin their life out of control...
Jay Chandrasekhar & Kevin Heffernan—
[Chandrasekhar:] The props people came up with the just perfect melons, and photographed them in a way that, you know, you really want to go at 'em a little bit.
The French Connection
—7/10 & 7/11/2012
I realized early on that all of us were capable of good and evil. That it’s within all of us. And that’s how I approach the stories I do.
Ai Weiwei: Never Sorry
The movie is, in a lot of ways, a product of just a very extensive investigation, of just kind of hanging around seeing what was going to happen.
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