A Quote by James Patterson

The instructor stared at me with cold, cut-me-no-slack determination, then got into a fighting stance, holding one hand out, beckoning me. "I saw that movie too!"I said."It was like the coolest movie of all-" He launched himself at me. That was when his day really went downhill.
My big break was really Liz Meriwether saw me in a movie called 'Paper Heart' and really liked it, and then saw me in a movie called 'Ceremony' because she knew Max Winkler and said, 'I want you to be in 'No Strings Attached,' but you gotta audition for it.' From that it was easier for her to get me in 'New Girl.
My big break was really Liz Meriwether saw me in a movie called 'Paper Heart' and really liked it, and then saw me in a movie called 'Ceremony' because she knew Max Winkler and said, 'I want you to be in 'No Strings Attached,' but you gotta audition for it.' From that it was easier for her to get me in 'New Girl.'
I was getting keys for my apartment, and I asked if I could get doubles, because I'm forgetful, and the woman there said, "Yeah, but it costs $5." I was like, "Oh, okay." But then she said, "Actually, you know what, I'm just going to give it to you for free. You were in that movie Mrs. Doubtfire, and that movie really helped me out in a time when I needed it. It got me through something, and it made me laugh when I needed to laugh.
Robert Duvall saw me playing at a restaurant in Louisiana and invited me to be an extra in his movie 'The Apostle.' He gave me a guitar for my sixth birthday, and I thought that was the coolest thing in the world.
For some reason, my main movie, Lady Sings the Blues, to me really isn't me. I really can let go of Diana Ross when I see the movie. I'm really objective when I'm watching it. I liked that movie so much. That movie was like magic so that when I'm looking at it I'm really not seeing myself, I'm seeing the actress. I'm seeing another person, not the me of me.
Quentin [Tarantino] called me and said: "Yeah, you've got to be in my movie. You've got to be in Death Proof." But he made me audition. I was like: "Dude, I don't even want to do this..." So I left the casting of Hostel: Part II to drive to Venice, where Quentin was holding his casting, and the person ahead of me was Derek Richardson from Hostel 1 and he was like: "Dude, what are you doing here?" I said: "Don't ask!"
I did the plays in middle school. I was cast as a gate in my fourth grade play, and every year I got a bigger role. Then, in 7th grade, I played Smike in 'Nicholas Nickleby,' and the casting director saw me and asked me to audition for a movie. That movie led to me getting 'Moonrise Kingdom.'
He pointed the gun at me. Then he looked up at my hand & tilted his head slightly. - Journey, he said. I had forgotten I was still holding the book. - Céline, I said back in a whisper. - I love that book. - I'm only halfway through. - Have you got to the point where -- - Hey, kill me, but don't tell me the end!
Years ago, Barry Diller asked me to be a judge on a pilot for an inventor show on USA, and when it was over, the producer, Ken Mok, took me out to dinner and really got me talking. It was a long dinner. Afterward, he said, 'One day, I'm going to write your movie'.
What are the rules," The cop said. "There are none." Vishous spread his stance and braced himself. "Do whatever you want...but you have to break me. You've got to tear me apart.
Someone came up to me and told me that [his opponent's] knee was hurt, and he said to me, attack his knee, I'm like, 'Yeah right, I'm not going out to attack this guy's knee.' It just doesn't … it's not realistic to go after his injury, unless they got a cut the same week, then it's like, yeah, hit him in the eye, because the [expletive] is going to re-open and now you wouldn't fight on the cut. Maybe on a cut you want to take advantage of it, that makes sense.
Lee Marvin was there at the same time, and I knew obviously it was his movie [Emperor Of The North], and Ernie Borgnine was playing the other part in the movie.I met Marvin there at wardrobe, and he said, "What are you doing for lunch?" I said, "Nothing." He said, "C'mon with me!" And he took me to the commissary. I walked into the commissary with Lee Marvin at 20th Century Fox, and he introduced me to people. He said, "This's Keith Carradine. We're doin' this movie together." He was so cool. I mean, my God.
It was Buckley, as my father and sister joined the group and listened to Grandma Lynn’s countless toasts, who saw me. He saw me standing under the rustic colonial clock and stared. He was drinking champagne. There were strings coming out from all around me, reaching out, waving in the air. Someone passed him a brownie. He held it in his hand but did not eat. He saw my shape and face, which had not changed-the hair still parted down the middle, the chest still flat and hips undeveloped-and wanted to call out my name. It was only a moment, and then I was gone.
'So,' he said as we turned onto the main road, the muffler rattling, 'I've been thinking.' 'Yeah?' He nodded. 'You really need to go out with me.' I blinked. 'I'm sorry?' 'You know. You, me. A restaurant or movie. Together.' He glanced over, shifting gears. 'Maybe it's a new concept for you? If so, I'll be happy to walk you through it.' 'You want to take me to a movie?' I asked. 'Well, not really,' he said. 'What I really want is for you to be my girlfriend. But I though saying that might scare you off.'
I went to Yugoslavia to make a movie. People saw me there and asked me to do a movie in Germany. And that led to a movie in Italy. Before I knew it, I was in Europe for most of the next 10 years.
We [with John Logan] started talking about The Searchers, and then he went on to tell me a story about when he first met John Wayne, and he said, "Hey, you be me and I'll be Wayne," and I said, "No, let me be Wayne!" Anyway, it was a very pleasant conversation, it was clear to him that I was a big movie fan, and by the time I got home, there was a phone call, asking if I'd mind doing one scene in the movie [The Aviator].
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