A Quote by Alden Ehrenreich
I didn't read the script [ Rules Don't Apply ] for a couple years. It basically amounted to this kind of apprenticeship with Warren [Beatty]: conversations and learning about his whole background in the film industry and his life.
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[Warren's Beatty] first film being with this very important director [Elia Kazan], I think we related on that in a big way. And I just was genuinely curious about his experiences in film, and about the people he knew.
For me, it was watching 'Reds' and 'Splendor in the Grass.' To me, 'Splendor' is like the companion piece to 'Rules Don't Apply.' It's set in the time when Warren [Beatty] came to Hollywood, and when he did that first film.
Warren Beatty is a great director. I wish Warren would direct another film right now, because I'd love to do another film with Warren. I think that 'Dick Tracy' is an outstanding film in its own right.
Warren [Beatty] loves to talk about his experiences with [Elia] Kazan.
When Tetro came out, I met with Warren Beatty for the first time. I had, like, a four-and-a-half-hour lunch with him, and then over the next five years continued to meet with him and go to his house.
Well I would never say to anybody that Warren Beatty got fired, but uh, I think he and Quentin fell out of love, and I think Warren told Quentin to hire me for the film.
At one point, I recognized that Warren Buffett, though he had every advantage in learning from Ben Graham, did not copy Ben Graham but, rather, set out on his own path and ran money his way, by his own rules... I also immediately internalized the idea that no school could teach someone how to be a great investor.
Even once Warren Beatty found his Annette Benning, he remained a legend with the women and a best friend to many men.
[Warren Beatty] definitely sees 'Rules' as a comedic consequence to the American sexual puritanism that is dramatically presented in 'Splendor.'
At Somerset I played with Marcus Trescothick who has spoken very openly about his battle with depression and anxiety. I had a few conversations with him about his problems but I also read his book which provided me with a great insight into what he went though.
The good thing about rules is if you have to do an interview, and you make some rules for that interview, like, "I can only ask him about five years of his life or her life," it narrows down your story. It's the same thing with acting. In my profession, if I say, "These are the rules for this character," all of the sudden, you create life.
I only learned about Darger a couple years ago, when I kept seeing his name in reference to my artwork, so I looked him up. I wouldn't consider him an influence because I'd already established my current style before learning about him, but I enjoy his work a lot.
Cotton Mather's publications in his own lifetime amounted to more than 400 titles, and his magnum opus, on which he labored most of his life, remains unpublished: a commentary on every verse of every book of the Bible. Anyone who leaves that kind of record behind issues an irresistible invitation to historians.
Director Jai Krishna is an optimist who has a never-say-die attitude. He has impressed me thoroughly with his faith in the industry. Not many are aware of the fact that this man had to wait for almost 30 years in this industry to direct 'Vanmam,' his first film.
In my whole life, I have known no wise people (over a broad subject matter area) who didn't read all the time - none, zero. You'd be amazed at how much Warren reads - at how much I read. My children laugh at me. They think I'm a book with a couple of legs sticking out.
When you start out as an actor, you read a script thinking of it at its best. But that's not usually the case in general, and usually what you have to do is you have to read a script and think of it at its worst. You read it going, "OK, how bad could this be?" first and foremost. You cannot make a good film out of a bad script. You can make a bad film out of a good script, but you can't make a good film out of a bad script.
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