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.
Josh Wiggins & Kat Candler—
[Wiggins:] He really does have a good heart. He just doesn't know how to use it...'cause he's been polluted by all this stuff that's happened in his life......there's a lot of stuff going on in that head of his.
John Lloyd Young, Erich Bergen & Michael Lomenda—
[Young:] Valli offered me much more help than he ever knew. Because I stole from him shamelessly every time I've seen him over all of these years. You can learn something about somebody's psychology more by what they choose to evade...
Jay Baruchel, America Ferrera, Dean DeBlois, & Bonnie Arnold—
How to Train Your Dragon 2
[Jay Baruchel:] Dean always allows us time to 'find daylight,' to sort of try to make it our own and kinda do what I call 'handmade acting,' right? Make it a bit clumsy, rough around the edges, homemade.
When you watch the last ten minutes of the film, and all that is me, you think, 'That’s why I did that.' But when you’re in it, it’s like...'when’s this going to end?'
The Devil Wears Prada
It’s an incredible thing to sit as far as I’m sitting from you, and have this incredible noise come at you. And that human beings can make these sounds is remarkable.
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.
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