Top 89 Quotes & Sayings by Jon Favreau
Explore popular quotes and sayings by an American actor Jon Favreau.
Last updated on November 25, 2024.
'Made' is about opening your heart to people who deserve your love and not trying to turn other people into something that they're not: not trying to save people who don't want to be saved. If you go down that dark path, you're not going to end up doing any good.
I've always wanted to call the shots because I would rather fail than not have a chance to figure it out on my own.
I think that anything that leads to creativity and good work is good.
For a movie - any movie - to work, all the bread has to fall jelly side up; everything has to go right. You have to hit the zeitgeist.
There is no free lunch, so if you're playing with the big train set - on big movies - it's a lot of money they're entrusting you with, and you have to get that money back for them. I don't take that responsibility lightly.
Christopher Nolan's 'Batman Begins' set the bar very high for the superhero movie, as it showed that you could get a great cast for these movies and take a real filmmaker's perspective.
You can't make a movie about making movies - it's boring.
The ultimate storyteller is Shakespeare, who was able to get the 'groundlings' to laugh at his bawdy humor and storylines but could still be studied by scholars to this day for the complexity of his language, meter, and symbolism. That's the real guy.
There's a lot of real estate in our brain dedicated to facial recognition and to physics. That takes a lot of processing power out of our brain.
A thoughtful piece of criticism by somebody who understands the context of what you are doing is a tremendous gift and honor to read, even if they don't completely embrace your work.
I don't think I'm egotistical as much as I'm taking responsibility for what I'm putting out there.
Half the people think I write Obama's speeches; the other half think I'm on 'Entourage.' So I'm at the level of fame where people kind of know who I am, but they confuse me with other people.
Thankfully, I have a background as an actor, and you learn how to live in that world of not knowing what's going to happen next.
When you're going for a big studio comedy, the joke tally better be pretty high, and you better have some big comedy set pieces. That was one of the issues when I was trying to get 'Swingers' made for the first time, which is that there weren't any broad comedy set pieces.
Between the theme parks and the movies, the Disney iconography was probably the first set of archetypes that I was exposed to. Walt was able to expose me as a child to the full array of emotions, including fear and sorrow. Those movies and attractions haunted my dreams and made a deep impression on me as a child.
I find that people... very few people think that what they're doing is bad, and usually the people who think what they're doing is bad it has more to do with guilt.
It's great to be able to connect parents with children both emotionally and through humor. I look forward to exploring family entertainment once again and examining the specifics of our day-to-day lives against the backdrop of an extraordinary adventure.
I like reading reviews. If they're clearly hating on you, I try not to read that deeply. But if they really are trying to understand, it's interesting.
Back to the painting of the Sistine Chapel, there's always been run-ins between benefactors and artists.
People look at Marvel movies as epic in scope, but if you look back at the comics, you realise that Marvel heroes were often a reaction to the square-jawed DC characters like Superman, who were flawless and beyond reproach.
I think what is nice about 'Elf,' and why it doesn't play as one long sketch, is that the character actually grows up during the course of the film. It's not just a character that you can keep checking in on and keep doing sketches about. It's a story. I'm pretty proud of how we told it.
There is nothing as fun as making a cultural splash with a movie. Sometimes the splash happens, like with 'Swingers,' where it sort of slowly ripples out, yet everybody could quote it. Or it could be something like 'Elf,' where you just make a big splash right off the bat when the movie comes out.
I wanted to be a New York City firefighter. I didn't make it in, though.
Get the shading right, the lighting right, and there are things you can do to make the CGI look more real. People end up going crazy and give themselves a little too much freedom in how they use CGI, and if you overuse it, it draws attention to itself.
I cooked a little bit in my first movie; I did a movie called 'Made.' For the little kid in the movie, I do a scene where I'm preparing a pasta puttanesca. I always loved watching that scene.
I like happy endings in movies. I think life has a happy ending. When it's all said and done, it's all something worthwhile, and I want my movies to reflect that. There are enough things to be sad about. When you pop in a movie, let the message be one that's one of hope.
I'm a pretty early adopter of social media. There's a whole subculture to it. I'm smart enough not to tweet things out of emotion.
Of course I danced a lot when I was making 'Swingers.' The swing music scene was big in Hollywood, and I went to places like The Derby. And, after I wrote it and was trying to get it made, I would go every week so I'd be good at dancing.
I was 22 and had worked on Wall Street for a year, and quit my job. I bought a motorcycle and sort of had this fantasy that I'd go cross-country like 'Easy Rider.' I went from New York to L.A., and on the way back, I stopped in Chicago and saw a friend of mine who was into improv. And I figured it might be fun to give it a shot.
What's fun about chefs is that they're big guys, often, and they might not look like the most athletic people, but they're very powerful people, and they have tremendous stamina... It takes a toll on their body, too.
I love 'Star Wars,' you know, and I can't remember the last story meeting I've been in where 'Star Wars' wasn't referenced. It's so perfect in so many ways.
For years, I was watching other people have so much fun playing out their version of authorship, like Louis C.K. and Larry David. As I watched them do their thing, I began to pine for the days when I had a lot less expected of me and, often, a lot more creative freedom. The courage that those guys have is always captivating to me.
I've hit a point where my big luxury is getting to work on the things I want to work on. That's my hobby. It's being able to do a movie like 'Chef,' where you don't get paid, where you get paid scale, but you get to do exactly the movie you want to do. To me, that's worth more to me than whatever money I would have gotten paid.
I've been fascinated by the world ever since I read 'Kitchen Confidential' by Anthony Bourdain. I've watched 'Top Chef' and watched interviews with chefs on 'Charlie Rose'... I thought they're really intriguing characters, and they really encapsulate that tension between vision and commerce, art and commerce.
I like a naturalism to my dialogue and my comedy. I would rather have a few jokes sail by that might be more subtle than have every single joke hit hard. I would rather the comedy come out of character as opposed to feeling forced. Even if you're giving some laughs up for it.
I'll basically eat anything that a chef puts in front of me. One of the reasons is respect for the chef. I watch chefs eat at other chefs' restaurants, and they're very aware not to leave anything over because the chef is watching very closely. It's a very sincere interaction when two chefs are cooking for one another.
Acting is the most fun. I like to do it and it's great that I can still do that, but you know, you don't really have a lot of control over things, so it's real hit or miss.
I've cut myself out... I've cut scenes out that I was in and that's when you realize that you've got to make the best movie you can.
At the end of the day, it seems like there's a critic archetype for food movies, like with 'Ratatouille' or anything. You know, if you were doing a puppet show about chefs, one puppet would be the chef, one would be the critic.
I don't 'handle' people. It's so much easier to manipulate actors than to really have an earnest discussion with them. It's very easy to say whatever's going to appease them and then turn around and do whatever you want to do. It's difficult to be forthright with people, because the job does not lend itself to that.
David Anspaugh, who was my first director, on 'Rudy,' was all about empowering the actor, making you feel comfortable and appreciated, allowing you to keep your dignity, and treating you like a man. Being treated like a grown-up makes you proud to be involved in a film.
When Iron Man's flying, we'd send real planes up to do the choreography so that we'd get the camerawork to really look like a cameraman was following from another plane. It gives it that 'Top Gun' look.
I don't want to be an art-house movie guy, where people who go to film school can discuss your work, but people who haven't studied cinema can't appreciate it. By the same token, I don't want to be the guy who's making this commercial pap that people lap up but that disappears the minute you leave the theater.
I don't have a lot of patience for movies that aren't cleanly told.
The irony is that the more unapologetically sexist men are in movies, the more women tend to be attracted to them in person.
I'm a very lazy person by nature. I have to be really engaged, and then I go straight from lazy to obsessive. I couldn't study chemistry, but I could memorize all the books for Dungeons and Dragons. It was ridiculous. The trick is to find what I like to do.
Everybody loves a hit. There is nothing as fun as making a cultural splash with a movie.
I think the bigger the movie is, the harder it is to maintain the idea of an auteur. You're servicing something beyond just your own vision. Whenever there's a lot of money on the line, it is your responsibility to make sure that you're doing your best to have people not lose their money and to actually win by betting on it.
Especially in the food business, critics take very seriously how much power they have. They can shut a restaurant down.
You have to find something that you have to obsess over if you're making a movie about it. As a director, you have to be able to pick something that excites you enough that you can breathe it every day.
If you're going to be an R already, you may as well be 'The Hangover,' and you may as well be as shocking as possible, because that's what delivers the most return.
Unfortunately, we are not painters and authors, where we can do something in isolation. We require a lot of money to create what we create. It's almost like being an architect: You can't be an architect and build whatever buildings you want to.
When I'm working with improv people, I give them the green light to just bring it and try things.
'King Kong,' especially the first two acts of it, is a really good example of the use of miniatures mixed with digital characters and how convincing it was.
I've always been fascinated by chefs and the worlds of chefs - what they do is incredibly cinematic.
I did a guest thing on 'My Name Is Earl,' and there is something about being involved in a TV show that's in the midst of its popularity that frees up the creative process.
I was the worst extra, I was 'that' guy. I was the guy on the phone trying to get the Oscar for best extra - for best background performance.
You show people playing poker or hacking into a computer; it feels so significant in the script, and then when you see it on the screen, it loses something. But there's something about cooking - food being prepared is incredibly captivating. It became just a fun box of tools to use as a director.
I remember watching the 'Iron Man' cartoons when I was younger. I remember reading the origin stories and some of the Silver Age stuff, and I read 'The Avengers' - 'The Defenders' and then 'The Avengers' - and that sort of brought me into 'Iron Man.'
I can't begin to tell you how fulfilling the perennial nature of 'Elf' on television has been for me. It's great to be able to connect parents with children both emotionally and through humor.
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