A Quote by Ansel Elgort
When I chose to do 'Carrie,' I never had done anything on camera before. I was always onstage, so everything surprised me. Just going on set and walking into a makeup trailer and seeing Chloe Moretz and Julianne Moore - 'Wow, I am part of this ensemble.'
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I think Julianne Moore is very, very good. I've worked with her. We did Surviving Picasso. I remember one scene we did together. She had to have a nervous, a mental, breakdown in this one scene. I didn't have many lines. I just had to make sure I knew I came in on cue all right. And I was just watching her walking though the rehearsal. I thought I know what she's doing, "This is going to be terrific." So they said, "Are you ready" and she said, "Yeah," "Ok, roll the camera." And all in one take.
Chloë Moretz as Carrie has an inherent amount of charisma, the camera loves her, she's been acting since she's five, she's a total pro, she knows her instrument. I took her on this phenomenal journey from a confident child star who has the great privileges of a family who loves her, great success, and huge confidence, to a wounded woman who had to gain her confidence back and desperately wanted love and acceptance.
'G.I. Joe' is a $200 million movie. The makeup trailer was as big as my house! It was a whole other different production. It blows me away. I'm just going, 'Wow, I'm in that.'
Getting pregnant and caring for a baby gave me a confidence I'd never had before. I really felt I'd done something well, and I can't say that about anything else in my life. I've never watched a movie I've appeared in and thought, wow, I was great. I always think, oh, I could have done this better.
I am the sum total of everything that went before me, of all I have been seen done, of everything done-to-me. I am everyone everything whose being-in-the-world affected was affected by mine. I am anything that happens after I'm gone which would not have happened if I had not come.
There are times when I've had ideas walking down the street that I thought were great, and the minute I got onstage, I would think of them and go, 'Wow, that would never work,' even before I did it in front of the audience.
Who what am I? My answer: I am the sum total of everything that went before me, of all I have been seen done, of everything done-to-me. I am everyone everything whose being-in-the-world affected was affected by mine. I am anything that happens after I’ve gone which would not have happened if I had not come. Nor am I particularly exceptional in this matter; each "I", every one of the now-six-hundred-million-plus of us, contains a similar multitude. I repeat for the last time: to understand me, you’ll have to swallow the world.
'The Kids Are All Right' is amazing. The performances are insanely good. Julianne Moore is going to wreck you. This is the best I've ever seen her, and I've seen everything she's ever done. I like the story, and I think it's a great alternative to the big summer popcorn blockbusters.
I'm big on hair. I love Julianne Moore's hair. That's all I'd like: Julianne Moore hair.
I was rather shaken by all the green trees. I always am. It gets me. I don't want to be funny about it but I am. I loved seeing all the westerns, but I had asthma and couldn't go anywhere, but I loved watching them in Technicolor and seeing the cowboys and the landscapes of Monument Valley and you'd see the forests of the Anthony Mann films and think, 'wow, that's fantastic', but I could never go there!
I've just written this six-part sketch comedy series, which I've never done before. And I don't know how to pitch it. Am I supposed to just pick up a camera and put stuff on YouTube? Is that how it works?
Our ethos for 'Now You See Me 2' was that everything in the movie at least had the potential to be done in real life, and I'd say over 90% of it was actually done in-camera with no CGI. Of course, movies like this are always going to be bound by the rules of Hollywood, being there's going to be enhancements of CGI.
I've never acted, but I'm an entertainer. So I kind of used what I know from being onstage. I've done a thousand and two interviews, and I've been on camera a million times, so I'm not uncomfortable on camera, but it was interesting for me to be someone else.
The only new technology that interests me is when it sort of throws me back soundwise. And I can think, "Wow, that means I can go onstage and sound like Scotty Moore now and again!"
It is always a nice feeling when you are challenged by a scene and you walk out of trailer and you go on set going I don't know. And then half an hour later you're walking back.
Zooming in, zooming out. I was shocked. I said, "Let's erase this right now, put the camera behind the stage and I'll do the performance just for the camera." He set up everything and I told him to go outside and smoke a cigarette. Come back when I finish. Don't touch the camera. This was the way how I've done most everything after that.
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