Once you sign on as an actor, you know, you don't go to the editing room, you don't see how they cut, you don't see how they score, you don't see how they cast the rest of the movie.
From Albert Brooks
I think anger and laughter are very close to each other, when you think about it.
One of the things I like about a character: I always think it's fascinating when a character can turn on a dime and go from one emotion to another. I like watching that.
I'm a member of the Academy, but I don't know who all the other Academy members are. It's not like a politician who knows who is in the Iowa caucus.
I just like making people laugh, and buried in that I like to bring up topics and start discussions.
What's interesting about books that take place in the future, even twenty years in the future, is that many of them are black or white: It's either a utopia or it's misery. The real truth is that there's going to be both things in any future, just like there is now.
In my screenplays - from the very beginning I've always used tape. I talk my screenplays. And then have somebody transcribe them.
Well, you know, with every character, if you're going to expose yourself, you've got to figure out every detail that you're going to play. So there's no character that you can just go put on his shirt and be fully prepared.
You know, I became a director out of necessity. I was writing comedies, and I couldn't find anybody to deliver it correctly.
I cast unusual people in my movies.
4 perspectives
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