A Quote by Brian Reitzell
The movie I worked on that had the most problems and interference came from the smallest indie movie I've ever done. I couldn't believe what the director had to go through; he was destroyed.
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I came in on this movie after there had been a director and I came in after Tom Courtenay had talked to Ron Harwood about making a movie. So, you know Tom and Albert Finney had been friends since the beginning of their career as they became stars around the same time - Tom always reminds me that Albert was first with Saturday Night and Sunday Morning and then Tom with The Long Distance Runner.
Giancarlo Giammetti has a lot of nervous energy. He's a director, really. He was trying to direct the Valentino movie over my shoulder. I don't blame him - that's been his job for 50 years. But I had final cut in the movie by contract and I wouldn't have made the movie if I had not been completely independent.
When you're done shooting, the movie that you're going to release when you're done shooting is as bad as it will ever be. And then through editing, and finishing the effects and adding music, you get to make the movie better again. So I'm really hard on myself and on the movie.
I saw 'Boogie Nights' more times before the movie came out than any other movie I had ever seen.
Rent Control was an interesting movie. It was directed by... I had done a couple of plays off Broadway, and this Italian director came, his name was Gian Luigi Polidoro, and he determined I was the person to play the lead in his low-budget comedy. He'd won an award at the Venice Film Festival, and... He was, y'know, a skilled director.
'Carrie' was a pretty big-budget movie at a real studio, with a director that had already done a bunch of things and had some notoriety, and Stephen King was the writer.
The only lie I really remember from my adolescence was when I was in sixth grade and I was dropped off with a couple of friends at the movie theater to go see a movie, I can't remember which one it was, and we went to go see this movie instead that was rated R. That was sort of a defining moment, that was probably the first time I had ever lied to my parents about something.
Basically, we [me and Evan Goldberg] started thinking about making a movie that was kind of a weed movie and action movie and had a real kind of friendship story to it, then that would be our favorite movie [Pineapple Express] ever.
I would have been content with still playing Inmate #1. I worked on every prison movie made, from 1985 to 1991. I would go from movie to movie to movie.
I had the best time I ever had on a Jim Cameron movie - True Lies, 1994. It was the single most freeing experience as an actor I've ever had. And, of course, in the midst of it there was this humungous circus that he conceived.
I've made some stupid decisions, so I have to be careful. I once said 'no' to a film that was a number-one hit. And 'Date Movie' had the smallest budget of any movie I'd been in, and it went to the top of the box office.
When 'Ruby Sparks' came out, I had to do so many interviews where I had to explain the film and my politics. And I think there was a willful misunderstanding by some people. They thought the movie was trying to perpetrate the thing the movie was deconstructing.
Maybe if I'd gone in younger, I wouldn't have had that feeling, but I've seen an enormous amount of changes since the early-'70s in how this stuff is shot. I did the first TV movie ever shot in 18 days; before this film the normal length of shooting a TV movie was between 21 and 26 days. We shot a full-up, two-hour TV movie in 18 days with Donald Sutherland playing the lead, who had never worked on television before.
I went through a very hairy period. I had a movie where I was going to play Walt Whitman that fell through. At the time, I had grown this huge beard and very long hair. But then, the movie got canceled, I had some other parts, and I currently have very short hair. So, when I look in the mirror, I don't know who I am exactly. It's interesting.
For the gun work, I had more of the basic training from the previous [movie John Wick] and the weapon work I have done in the past. In the second movie [John Wick 2], it really went on into another level. I've done the three gun training, where you worked with the pistol, rifle and shotgun. So that all is in the film.
Carrie was a pretty big-budget movie at a real studio, with a director that had already done a bunch of things and had some notoriety, and Stephen King was the writer. He was banned from the set, but that was kind of an A-plus production. So that was my first experience.
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