A Quote by Alessandro Nivola
Barry Levinson is such a deceptive director, because he seems really lackadaisical. I'd never worked with him before, and I almost got the impression that he didn't really care that much because he was so laid-back. Sometimes we'd finish filming hours before the day was over, which is just unthinkable in any other film experience I've had. I couldn't believe that Barry had the passion for it.
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I read some Marvel, but I was more of a DC guy. Particularly the Flash, Barry Allen. I latched on to him because I felt like him. You thought to yourself, 'Well, you can't really be Superman.' You couldn't really be Batman - Batman was a really dark figure. I identified with Barry Allen's hopefulness.
It was so soon after I'd had my son and I really wasn't planning on going back to work for a while. I will walk over hot coals to work with Bill Condon on anything, the experience that you have with him is just too good... I've certainly never worked with him before so the trio of Bill [Codon], Ian [McKellen], and Sherlock Holmes, and England: it was too much to say "no" to.
'Sleepless' was a script that had been written by three or four other writers before me, and it never really worked, but it had this amazing ending on the top of the Empire State Building that just worked, no matter what came before it.
Barry Harris had a club called Jazz Cultural Theater and there were sessions there on a regular basis. I remember being there and sitting in with [Charles] McPherson and Barry being there, and just smiling at me. He didn't talk to me much at the time, he just came up and gave me a smile, which meant a lot. I've since gotten to know him and been around him a little bit.
Am I missing something because of my lack of education? Being an intellectual - I'm not. So I hire him as a corner man, like a boxer; he watches me and tells me what I do wrong before I go in for the next round. Barry thought he was going to write what became Executioner's Song, and I told him he wasn't going to. And Barry's closest friend was Joan Didion.
Before writing a single note of music, and even before the spotting session, I find it best to sit down with the director and just listen to him or her talk about the film - what they're trying to say, what they want the audience to understand or believe, and a thousand other similar questions. The director has most likely been living with the film for years before a composer is attached, and so the director's inclinations, desires, and understanding of the film are paramount.
We with Komplizen Film believe very much in the writer-director and in the freedom of a filmmaker. I think it's always good to be involved where you spend the money. Filmmaking, you see in the picture what the money's spent for. I never had to leave a phase of filmmaking before being really happy, and that was really a big luxury. That could happen, I think, because I am my own producer.
Before there was Ronald Reagan there was Barry Goldwater, and before there was Barry, there was National Review , and before there was National Review there was Bill Buckley with a spark in his mind.
I've been in that situation three or four times before where I'm losing the fight - the fight seems almost over with - and I knew I had to finish him and stop playing possum as much.
I got a hug from Kathleen Marshall, Sheryl Crow, and Barry Levinson all in the same day - and that was something pretty special!
I could never understand why they did that to Barry Sanders in Detroit. I know that's one of the reasons why he retired, because they took him out on third down and let someone else catch the ball. I thought they must be out of their mind because Barry is such a threat.
My dream is to be able to make something in Baltimore that's just there. Make a movie or make a show there. I only left because there wasn't any opportunity except being an extra in Barry Levinson or John Waters movies.
I could not bounce back from my divorce - emotionally - I just could not bounce back. With any bad situations I’d experienced before - a bad game or my two previous divorces - I got over them. This time I just could not get out of the hole. The anxiety attacks were frequent and extensive. I had weight loss, which I’d never had before. I couldn’t stop crying. And if I wasn’t crying, I was angry, bitter, hateful and mean-spirited. I couldn’t sleep - couldn’t concentrate. It just got crazy.
'This is Spinal Tap' was a film we felt really had to be done like that. It wouldn't have worked any other way. And it turned out to be the first time a fiction film had really been made in a documentary format. I continued to do that, obviously, because it's a fun way to work.
In the beginning, Barry and I couldn't decide if we were going got go forward with the name of the Bee Gees or just as Barry and Robin. Now we've decided to continue as the Bee Gees because we feel we can, and Maurice would have wanted it.
I started playing guitar back in '56. I was a teenager, and guitars had just come in, and I had a thing for it and got one. Started learning lead breaks from songs, because that was the easiest thing to do at the time. I had the guitar for two years before I learned any chords. Really.
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